Writer-director Hannah Peterson effectively suffuses the film with a mournful absence of life.
The film lucidly reminds us of the human stakes of Israel’s resettlement of the West Bank.
The exhibition encourages a critical perspective on movie props and the world they come from.
In its third season, the series dilates the plot, letting mood and character simmer.
The Devil’s Bath details a social configuration at once familiar and alienating.
Diop’s riveting meta-drama receives a series of extras that exalt its wide-ranging themes.
The film ultimately doesn’t discover very much unexplored thematic space of its own.
The effect of Diop’s documentary is haunting and powerful.
The film may be the first to find a sweet spot between Dumb and Dumber and a nature doc.
Unable to commit to realism or absurdity, the film fails to live up to the promise of its title.
Visually and aurally, it’s easy to get as caught up in the world of the film as its characters do.
Assayas’s film is a gently smart and warm-spirited look at love in a time of stasis.
The at times meticulous realism of Tim Mielant’s film eventually gives way to hokey drama.
Throughout Chan’s film, comic irreverence intermingles with cosmic coincidences.
Paul B. Preciado’s documentary quite aptly languishes in an undefinable interstitial space.
The film deploys genre cues only to sidestep their expected payoffs and moral resolutions.
Bas Devos’s trademark placidity and restraint constitutes a challenge to narrative convention.
The series displays some of the inevitable wear of a concept that has already gotten more mileage than anticipated.
The first season of gets an image/sound presentation that’s practically beyond reproach.
The show’s second season is structured less around storylines than around feelings.