symposium
By Jonah Jeng | October 22, 2018

The film is a brilliant instance of genre being deployed as a code that can transcend time and space: by referencing the recognizable features of classical film noir, the movie links two contexts that seem at first to be irreconcilable.

review
By Sierra Pettengill | October 19, 2018

By calling attention to what images are projected and received, Ruth Beckermann reveals the process by which narratives can be made and unmade.

symposium
By Nick Pinkerton | October 19, 2018

In this mephitic atmosphere, an assertion of the sanctity of simple domestic pleasures (of pleasure itself) is tantamount to an act of artistic resistance.

review
By Caroline Madden | October 17, 2018

Dano bends the contours of the coming-of-age drama by examining what is happening around his protagonist rather than to him.

symposium
By Chloe Lizotte | October 14, 2018

Rather than charting the trajectories of her characters towards enlightened maturity, Hittman asks them to feel their way through the emotional dark, guided by impulse, rerouted and misdirected by social pressures.

review
By Michael Koresky | October 12, 2018

Life exquisitely pours forth out of If Beale Street Could Talk, a film that seems to move on unceasing currents of emotion, of love and pain, of big heartaches and small joys, of revelations and disillusionments.

review
By Tayler Montague | October 12, 2018

The brilliance of the film is in its show-and-not-tell ethos; the history reverberating beneath the narrative speaks to characters striving for democracy and freedom, or some semblance of them.

review
By Nick Pinkerton | October 12, 2018

To begin with, designed as a one-director anthology film, it picks up and disposes of various narrative threads rather than staying with the same plotline or plotlines (or absence of plot) throughout. Secondly, it depends almost not at all on real-time duration to fill itself out.

review
By Adam Nayman | October 11, 2018

While there are many aspects binding Transit to Barbara and Phoenix (including an oppressive system, embodied here by the vagaries of international migration in wartime), Petzold is working in a slightly different register; it is at once more rigorously conceptual and less sociopolitically specific than its predecessors.

review
By Michael Koresky | October 11, 2018

3 Faces is the most freeform and expansive of the cycle of movies that has come to define the latter part of his filmography, and, crucially, it is the film that brings him back to the feminist concerns that fueled so many of his definitive earlier works.

review
By Violet Lucca | October 11, 2018

Just like the world we live in, where the inequalities between rich and poor and male and female only grow crueler and less escapable, the rage that undergirds Burning is instantly familiar.

review
By Courtney Duckworth | October 10, 2018

The repetitiveness of his project lulls us into surprising moments of realization. We are trained, as when Ji-young repeats herself, to fix our eyes on the slight alterations between films.

review
By Lawrence Garcia | October 10, 2018

Clips culled from cinema and reportage flicker and transform before our eyes in a barrage of changing aspect ratios, contrast levels, and color saturation intensities; gnomic pronouncements and aphorisms (some translated, others not) boom and crackle over a detailed 7.1 sound mix.

review
By Demitra Kampakis | October 10, 2018

In exploring love, sex, death, and adultery this way, screenwriters Garrel and legendary screenwriter Jean-Claude Carriere adequately probe the meandering contours of relationships and commitment, as well as the elusive nature of monogamy and desire.

symposium
By Max Nelson | October 9, 2018

Seno has said that Nervous Translation emerged from her memories of growing up a reluctant child of the Philippine diaspora.