By Caitlin Quinlan | May 4, 2022

There is a strong relationship between this topic and silence, and silence is the best weapon for people who don’t want the world to change, people who want the world to go backwards.

By Ryan Swen | May 16, 2022

The sense of characterization emerges equally from the supposed downtime, the moments between the conversations.

By Forrest Cardamenis | May 13, 2022

The resplendence of the cave sequences must be seen to be believed, and their ingenuity marks Il Buco as a significant work of digital filmmaking.

By Philippa Snow | May 11, 2022

The most provocative reason Thyberg could have given for Linnea’s career is the un-thrilling reason almost everybody has for going to work: to pay the bills, to secure housing, and to live.

By Katherine Connell | May 2, 2022

Though certainly less chaotic than The Lighthouse in unearthing repressed desires beneath manly bravado, The Northman suffers from a similar overestimation of both the perversity and brutality of its imagination.

By Michael Koresky | April 28, 2022

Noe uses two cameras to capture all of their travails in intimate close-up, allowing us to see them both at once using split-screen. Such a formally rigorous approach tends to call attention to itself, naturally inviting questions of aesthetics and perception.

By Lindsay Brayton | April 23, 2022

It’s best to keep your wits about you while watching Lou Ye’s gorgeous and surprisingly playful latest film Saturday Fiction, set in Japanese-occupied Shanghai.

By Eileen G'Sell | April 22, 2022

There is a quality to the gaze that is always political. It is not that children have a more poetic look on life, but that it is vital for them to look, it is vital for them to gaze. It is about getting information, because they are dependent and a lot is not said within families that have a strong hierarchy.

By Susannah Gruder | April 22, 2022

Time is in many ways the subject of Petite Maman, which opens with the ticking of a clock, suggesting the childlike domain of Fanny and Alexander, a film that likewise tries to understand the mysteries of adulthood through a child’s eyes.

By Demi Kampakis | April 20, 2022

In an echo to his father's 2015 masterpiece Taxi and in the great Iranian cinematic tradition, notably the films of Abbas Kiarostami, Panah Panahi presents this vibrant, bracing, and tenderly devastating family portrait through the pressurized chamber setup of a road movie.

By Caden Mark Gardner | April 15, 2022

The film is a reflective presentation of how an entire generation was drawn into the digital sphere in response to a physical world that often left them in a despondent state of isolation, dissociation, and dysphoria.

interview, feature
By Eric Hynes | April 8, 2022
At the Museum

I really wanted us to experience the way that history and our representation of truth is mediated through images, through popular culture, through the news, through horror films, and through archives of therapy sessions.

By Lawrence Garcia | April 6, 2022

The filmmakers repeatedly return to one notable formal strategy: building up a link between two people across a given scene or shot, then punctuating it by cutting to a heretofore unseen observer.

By Chloe Lizotte | March 29, 2022
Event Horizon

Much of the current deepfake hysteria stems not from questions of consent, but from fears about election manipulation. It has never been as easy to undercut the “truth” of filmed reality, but verifying truth in image-making was never so straightforward.

review, feature
By Chloe Lizotte | March 25, 2022
At the Museum

The title of Vengeance Is Mine, All Others Pay Cash may be slick and playfully edgy, but in ironic passages, Edwin ruptures that tone.