review, interview
By Devika Girish | April 12, 2018

“It is a time when this country is under a lot of criticism, rightly so, and I have found my place in portraying certain things, but showing them to you in a way that you get to make your own judgment. And so far, I have been very moved that people want to see the good of this country.”

By Kelley Dong | April 13, 2018

Though it bears the markings of a gut-wrenching horror film, A Quiet Place is stubbornly optimistic about the existing order.

review, feature
By Josh Cabrita | April 12, 2018
At the Museum

Gibson shows that filmmaking is an extension of a practice that is already proactive and lived. The evolving relationship between filmmaker and subject is retained implicitly in nearly every shot and interaction.

By Adam Nayman | April 11, 2018

If one of the principal powers and pleasures of cinema is its ability to momentarily suspend thoughts or cares about what lies outside the frame, then Zama can be taken an object lesson in manipulation. Every strenuously controlled moment and movement constitutes an irresistible entreaty to simply go blank and watch.

By Ela Bittencourt | April 6, 2018

"It was about creating this open space and stretching it as far as possible, moving step by step, adding new elements one by one. At one point, it became inevitable that the making of the film itself should come into view."

By Matthew Eng | April 5, 2018

Charlie is seeking both shelter and solace, but also a simple yet elusive thing: connection. This aligns him with all of the protagonists that writer-director Haigh has brought to the screen in a career that feels increasingly major with each new project.

By Nick Pinkerton | March 30, 2018

As Soderbergh, in his mini-mogul practice, endeavors to hack out new routes leading around the established economic order of filmmaking, his films depict men and women doing their best to negotiate contingency plans for the perilous environment created by a carnivorous economy on the prowl.

interview, feature
By Caroline Cao | March 30, 2018
At the Museum

The Breadwinner is a simple story about a young girl who loves her father, but there are layers that acknowledge the complexities of the political situation in Afghanistan, children growing up in conflict, and the fact there are no easy answers.

By Simran Hans | March 23, 2018

The meticulously detailed wasteland that Anderson has created is rendered with his typical craft and care . . . Yet in ethnically delineating its humans, the film sets up a curious, racially coded divide between dogs and the Japanese.

By Matthew Eng | March 22, 2018

The manic pace at which Desplechin sifts and slides through tones can be overwhelming, even alienating, but his insistence on wandering down paths most filmmakers would not dare explore, much less envision, provides a heady, heart-searching pleasure for those of us willing to follow.

By Tayler Montague | March 21, 2018
Festival Dispatch

Filmmakers are actively pushing up against what it means to make a documentary at all, and the True/False Film Festival caters to and nurtures that objective. I am especially thankful to True/False for exposing me to new possibilities for Black cinema.

By Nick Pinkerton | March 16, 2018

Depardon is not out to expose naked cruelty, neglect, and dereliction of duty, as Wiseman and Wang do in their films, but something much more subtly invidious: the revolving-door efficiency of the state apparatus, mechanized service behind a blandly humane smile.

By Fanta Sylla | March 15, 2018

Black Panther is an unsettling experience. A sexy and entertaining blockbuster, the third feature by Coogler following Creed and Fruitvale Station is also a sad and perverse object. Its provocative ambiguity reveals itself only gradually.

By Kelley Dong | March 10, 2018

Adapting the convoluted yet scant language of the text is in itself a catch-22: total fidelity to the novel risks attracting the same denunciations that flagged the author for decades; but disloyalty jeopardizes the respect of a dedicated fanbase.

By Daniel Witkin | March 9, 2018

The film thrives on translation, communication, and perception. Like the screwball comedies of yore, it revolves around a romantic conflict that its protagonist does not fully comprehend, though here this situation is reduced from the fanciful to the quotidian.