review
By Bedatri D. Choudhury | February 16, 2018

This portrayal of an ugly divorce functions as a commentary on the dysfunctional post-Soviet, post-Communist Russia, where nothing holds value other than money and the desire to earn more of it.

review
By Greg Cwik | February 8, 2018

In his five films, Perry has exclusively written irredeemably selfish characters, who opt to remain in their own comfort zones, yet he sustains a consistent empathy, never dismissing or torturing them. There is a Sisyphean desperation to their yearnings.

review
By Justin Stewart | February 2, 2018

There is a formal adventurousness here typical of Kurosawa, who has seesawed between genres both throughout his career (horror, sci-fi, and dramas like Tokyo Sonata) and within individual films (Doppelganger transitions from a loss-of-identity thriller to a sort of satirical romance). The constant element is a sure-footed aesthetic precision.

review
By Keith Uhlich | February 1, 2018

In 24 Frames, the boundary that separates still photograph from motion picture proves to be beside the point, much as it is immaterial to the impact of the heady Kiarostami romance Certified Copy whether the central couple are long-term partners or total strangers.

feature
By Nick Pinkerton | February 1, 2018

A series full of mistaken identities and roving impostors, Twin Peaks: The Return is a heads-up to look for cinema in places other than where it’s alleged to be found.

feature
By Nick Pinkerton | January 31, 2018

One of the unexpected pleasures of this Twin Peaks was just how unexpected it was, how it didn’t seem interested in reheating an old dish in the name of “fan service.”

feature
By Nick Pinkerton | January 30, 2018

Much of what is dearest in cinema can be credited to brash buccaneers and independent operators working at the periphery, though few are the film artists, like Lynch, who can maintain freedom of the margins.

feature
By Nick Pinkerton | January 29, 2018

One of the jobs of the artist is to find the space that is most conducive to the practice of their art at the given moment; one of the jobs of a functioning cultural commentariat is to follow artists to those spaces.

feature
| January 16, 2018
Years in Review

Best Supporting Actress, Best Monologue, Worst Supporting Gay, Most Tonally Strange, Best Age-Inappropriate Romance, Paul Giamatti Award for Overacting, Best Bookends, and much more

feature
By Jackson Arn | January 13, 2018
At the Museum

At the heart of Benning’s practice is an unmistakably avant-garde thesis: ordinary ways of experiencing reality need to be transcended with the help of cinema.

feature
By Daniel Witkin | January 13, 2018
At the Museum

Cobbled together from home movies that the Brazilian director amassed throughout four decades living in Paris, the film constructs an autobiography of sorts from what its author happened to film over the years.

review
By Emma Piper-Burket | January 12, 2018

Avoiding the sweeping grandiosity and visual tidiness of so many period pieces, Thomas brings a deeply tactile approach to her first solo feature, which is set in the mountains of 19th-century Brazil.

feature
By Ela Bittencourt | January 11, 2018
At the Museum

It’s an expansive visual travel journal—Chidgasornpongse rode all of Thailand’s train lines over the course of six years—though on screen it seems as though it’s all happening in a single day (represented in 102 minutes of footage).

feature
By Kelley Dong | January 11, 2018
At the Museum

Through its oversaturated, auto-exposed, and coarsely textured images, Let the Summer Never Come Again makes visible the mechanisms of its fiction.

feature
| January 8, 2018
Years in Review

The Shape of Water; Three Billboards Outside Ebbing, Missouri; The Disaster Artist; The Killing of a Sacred Deer; Rat Film; Wonder Woman; Victoria & Abdul; Beauty and the Beast; City of Ghosts; Baby Driver; Wind River; I Love You, Daddy