interview, review
By Jordan Cronk | November 24, 2021

When you adapt a book into a movie it is more about transcribing the emotions you felt when you first read the text.

By Imogen Sara Smith | November 30, 2021

Among Mario Monicelli’s greatest gifts as a director was the expressiveness, specificity, and stubborn physicality of the worlds he creates. This textured, tactile realism is potent in The Organizer (1963), his epic tragicomedy about the nascent labor movement in late 19th-century Turin.

By Sarah Fonseca | November 26, 2021

Paul Verhoeven’s psychosexual hall of mirrors remains worthy of a steel-plated prize for the best use of a kitchen utensil in a motion picture . . . Basic Instinct finds both men and women culpable in a time-honored mating game that has no clear rules barring the foolhardy pursuit of pleasure.

By Justin Stewart | November 23, 2021

The narrative remains a storytelling marvel in the way it centers an object to both push the action along and toggle between characters while sneakily establishing the greater themes of unstable justice-lust and moral rot.

By Michael Koresky | November 19, 2021

Defining (and redefining) contemporary fascism may be a losing game, but identifying the destructive forces of moral conservatism remains as depressingly easy as ever. Another thing that remains vivid: the misogyny at the corrupt core of modern patriarchal life.

By Matthew Eng | November 19, 2021

Despite Mills’s best efforts, his fussed-over films can teeter into preciousness, especially in the concluding reunions and resolutions that cohere a little too neatly. Patness isn’t exactly the problem in C’mon C’mon—its ending is actually one of the more open-ended in Mills’s filmography—as much as its dubious blending of fact and fiction.

By Gavin Smith | November 17, 2021

The viewer may anticipate a contest between Phil and Rose for the boy’s heart and mind, a kind of moral tug-of-war, and Rose’s physical deterioration as her son’s fortitude develops enhances the misdirection. But in the end, it’s Peter’s conception of masculinity, as encapsulated in the film’s opening voiceover, that prevails.

By Caitlin Quinlan | November 17, 2021

The film is breezy and carefree in a manner not often seen in narratives centered around women’s power. Not only does Marie never fail, there is never the sense that she even might.

By Michael Koresky | November 15, 2021

It’s never confirmed that the film’s “right” Chinaman is a statue whose head stands still and straight. Yet this remains all a matter of perception, as well as interpretation. The object is thus tactile yet vaguely defined, and leads to a larger question: if the Chinaman doesn’t belong here, then what, or who, does?

By Lawrence Garcia | November 12, 2021

What Do We See? operates like a kind of benevolent human magic: it splits our attention between two poles, one natural, the other personal, between the coherent order of the natural spectacle and the driving personality behind it.

By Clara Miranda Scherffig | November 12, 2021

Everybody is the victim of a patriarchal, homophobic, and capital-driven society. It might sound terrifying or hilarious, depending on the point of view, but The Beta Test sends a plausible message: people are now just scrapeable data.

By Erik Luers | November 12, 2021

His films actively engage with their subjects while questioning the notion of authentic representation...these films interrogate the subjective act of viewing.

By Michael Koresky, Jeff Reichert | November 11, 2021

What does giving such primacy to the nonhuman and inanimate mean for the other elements onscreen, specifically the human or the animal? What does an object convey? What is its meaning within an art form that is itself so given to fears of impermanence?

By Adam Nayman | November 11, 2021

The baseline conceit of the actor as a ruthless authority figure derives from Blake and those brass balls, and how they wordlessly externalize the tumescent cockiness of their owner.

By Kelli Weston | November 11, 2021

The zenith of this performance by Eartha Kitt, in which she dispenses with her own figurative veil, comes in an especially tragic sequence with a literal bridal veil, emblem of the refuge that has cruelly been denied her.