Marry Me plays out as the logical culmination of a multi-hyphenate icon’s indiscriminate commercial voracity.
Feelings are unutterable and intimacy unbearable in the Japan depicted in Kudo Riho’s Let Me Hear It Barefoot.
Death and childhood haunt Pénélope My Love and Malintzin 17.
The film makes no attempt to embody the themes that form the core of Annie Ernaux’s story in its aesthetics.
For a while, though, Olivia Colman’s performance carries the film, with little narrative distraction or stylistic conspicuousness.
As we re-enter the circuit of in-person film festivals, the peculiarities of the physical world feel just as alluring as the movies themselves.
For too much of its running time, Hit the Road is untethered from any kind of captivating narrative purpose.
Swamy Rotolo’s face is rife with the ambiguities that the film’s narrative lacks once it pivots into thriller mode.
Pietro Marcello, Francesco Munzi, and Alice Rohrwacher’s documentary rather faithfully captures the spirit of our times.
The film is a tale of how the desolation of a nation inhabits and engraves a woman’s body.
The film ultimately trades its main character’s account of her own suffering for her therapist’s pathologizing assessment.
Though uneven, the film is clever about avoiding age-old conundrums regarding the disavowal of the language of horror.
John and the Hole is most impressive when it proceeds as a series of confounding and uncanny situations.
At its most accomplished, the film unfolds with a voluptuous slowness and a sense that narrative endpoints are irrelevant.
Playground is practically an exercise in the use of off-camera space, and a masterful and refreshingly consistent one at that.
Against the Current’s style imposes a generic visual language onto a subject who’s anything but generic.
François Ozon’s paean to nostalgia wraps tragedy and obsession in a whimsical bow.
The film’s tendency to over-explain, over-intellectualize, and over-script events leaves little room for spontaneity and doubt.
The film isn’t interested in exploring the fissures in Pink’s life in the rare moments when they begin to surface.
Both films center around women who are crippled by domesticity.