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By Michael Pattison | August 3, 2015

Though Sergei Loznitsa has made eighteen films since 1996, delineating a logical arc in his career—as one might have attempted to doduring a full retrospective at Crossing Europe Filmfestival Linz this past April—isn’t easy.

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By Jeff Reichert | July 29, 2015

Were these poses merely all part of a larger, calculated performance Marlon gave in service of the role of his lifetime: that of “Brando”?

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By Michael Koresky | July 24, 2015

Phoenix is a gorgeously odd film, a quietly symphonic elegy fueled by a magnificently preposterous plot that ends up as something like a cross between Roberto Rossellini’s Stromboli and Hitchcock’s Vertigo—but communicated through the specific experience of Jewish-German identity.

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By Leo Goldsmith | July 22, 2015

All plot synopses are necessarily attenuations, but for Horse Money any summary feels especially futile, or even violent, a crude reduction of its complex network of impossible geographies, fuzzy memories, and jumbled chronologies.

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By Michael Koresky | July 20, 2015

Woody Allen’s latest, Irrational Man, is, whether one accepts or rejects its brutal fatalism, a totalizing aesthetic experience that provides evidence that this seventy-nine-year-old is a craftsman we should still be paying attention to.

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By Eric Hynes | July 17, 2015

As with Claude Lanzmann’s Shoah, another masterpiece dedicated to present-day witnessing, to chasing the ghosts of atrocity across the living landscape of our ruined humanity, it’s important not to overlook the extraordinary artistry that allows for such extra-cinematic effects.

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By Adam Nayman | July 8, 2015

Sean Baker makes widescreen movies. Not only in the sense that he employs a rectangular aspect ratio, but also by seeking to include as many characters as possible within the physical area of a shot.

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A visual poet with a penchant for knockabout brawling, an idealist who gravitated to tales of melancholic loss, a notorious tyrant who cultivated long friendships, a nineteenth-century sensibility revered by many a hardcore modernist: John Ford, as they say, contained multitudes.

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By Nick Pinkerton | July 3, 2015

Magic Mike XXL is able to express something about catering to fantasy life with such clarity because it deals with the business of female fantasy—or, rather, the prepackaged version of female fantasy filtered through available cultural signs and symbols and enacted in the arena of the strip club.

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By Monty Majeed | June 26, 2015
Festival Dispatch

Over its six years of existence, Kashish has grown into south Asia’s biggest queer film festival, was voted as one of the top five LGBT festivals in the world, and is today India’s only LGBT film festival to be given official permission to be held in a mainstream cinema hall.

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By Eric Hynes, Jeff Reichert | June 26, 2015

In this Reverse Shot Talkie, director Matías Piñeiro browses the aisles of a Greenwich Village bookstore with host Eric Hynes to talk about adaptation as an art of taking liberties, the beauty of mess, and his ongoing relationship with William Shakespeare, whose plays have inspired many of his films, including his latest, The Princess of France.

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By Adam Nayman | June 25, 2015

In trying to figure out how The Princess of France can be as phenomenally accomplished as Viola while also a bit less immediately appealing, it may be best to defer to the Bard: the play’s the thing.

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Yang’s games are explicitly political, explicitly homoerotic, explicitly masculine. They are technologically proficient and artistically confident. They are some of the most exciting works produced in the video game form in recent times, and are well worth engaging with.

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By Adam Nayman | June 19, 2015

”When I was starting to make Eden, people told me that my main character was too passive or too negative; when you write scripts and try to get financing, that’s the sort of thing that you’re told not to do, or that people don’t want to see that. People said that it should be a success story.”

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By Jeff Reichert | June 19, 2015

Whether a child will grasp this all enough for it to resonate is questionable, but adults are invited to reflect on their own lives, likely filled with crumbled islands, doors once open, shut, often cruelly, in our faces by fate, luck, our own weakness or inability. Life, suggests Inside Out, is destined to include disappointment.