The film is a meditation on love and desire, death and memory, silence and expression.
With his latest, Dumont leaves the refreshment of the space opera to future practitioners.
This Irish drama’s tone of inevitability amounts to an anti-modern despair.
With the film, Tommaso Santambrogio puts neorealism in the service of dream.
The film presents a way of life where the only friction is between “man” and “nature.”
Dream Team’s absurdist brand flirts with art-for-art’s-sake disengagement.
In Ruizpalacios’s latest, a Times Square kitchen becomes a microcosm of American capitalism.
The film is a strange case of the homage that outstrips what it’s meant to be imitating.
The film is a parable warning against nostalgic attempts to recreate the past.
The overbearing plot of the film sadly obscures the humanity of its characters.
Monica Sorelle’s Mountains is a film about work that nonetheless champions leisure.
The film has little to add on the subject of the interplay of politics and infectious disease.
Criterion’s release is something of a Cinema Novo starter kit for cinephiles.
Crossing is nobly intent on showing trans people as worthy of dignity, safety, and love.
It’s unclear what the film gains by skewing away from a more straightforward family drama.
The film stands out for its mistrust, not just of images but of the sense of sight altogether.
The film captures the putrefaction of colonial rule with a morbid sense of humor.
In Baloji’s film, one family attempts to reconcile two irreconcilable yet inextricable realities.
The film knows that there’s no way of reversing historical trauma, only surviving in its wake.
Few sacred cows emerge unscathed from Hausner’s latest.