The film accomplishes a restoration of sorts, allowing us to see how historical objects can confer meaning on a new context.
Jonathan Cuartas’s film vividly diagnoses a sickness of insularity endemic to middle-class America.
In Bad Tales, impending adulthood isn’t treated as a loss of innocence, but something more akin to congenital illness.
The film’s aesthetic, understandably fused with its protagonist’s dogged can-do attitude, is both the source and limitation of its power.
Christopher Smith’s film applies the haunted house trope in unfamiliar ways.
Oliver Hermanus’s film is a rumination on the consequences of apartheid on those who benefit from it most.
Come True offers a glimpse of a world where screens are pores in the boundary between dreams and waking life.
Beneath its perfectly entertaining surface, the film is a mess of contradictions that fails to live up to its own potential.
What distinguishes the film from ordinary journalism, and what constitutes its intervention in reality, is a difference in timescale.
The film strikingly punctuates the detachment of realist drama with the expressionism of psychological horror.
It’s at the juncture between horror and philosophical surrealism that The Night is at its most provocative.
Mariusz Wilczyński’s animation style strikes an unlikely balance between the childlike and the proficient.
Rodrigo Sorogoyen’s feature-length Madre contemplates how memories of loss linger and distort the present.
The film ruminates on how virtuality infiltrates the deepest regions of our subconscious to reprogram the inner workings of the self.