symposium
By Michael Koresky, Jeff Reichert | May 16, 2017

As film critics, we have been unclear what to do with our despondency, other than one clear thing: direct our outrage away from suffocating social media channels and toward writing, reasoning, wrestling with ideas, praising, hoping, questioning.

review
By Jeff Reichert | May 19, 2017

The comparatively bite-sized, almost four-hour The Woman Who Left feels like a work that could start to open Lav Diaz up to a larger U.S. audience in a way that Norte, the End of History, his last film distributed here did not.

review
By Keith Uhlich | May 18, 2017

The need to resolve the dangling narrative threads of popular works of art is truly a pox. If everything is spelled out, then there is no room left for mystery and imagination. It is always better to allow the mind to race just enough so that it deepens the things that we see and hear.

review
By Jeff Reichert | May 17, 2017

Over the course of a career that runs far deeper than just his 1994 groundbreaker Hoop Dreams, James has continually given classical documentary storytelling a good name.

symposium
By Michael Koresky | May 16, 2017

How do the circumstances surrounding the Executive Order Promoting Energy Independence and Economic Growth echo the events of Pasolini’s dangerous masterpiece?

symposium
By Matt Connolly | May 16, 2017

Filmmaker Stephen Cone’s empathetic fable represents a quiet rejection of all that’s contained in the Muslim Ban, or, Protecting the Nation from Foreign Terrorist Entry into the United States.

symposium
By Kelley Dong | May 16, 2017

The potential consequeces of Expediting Environmental Reviews and Approvals for High Priority Infrastructure Projects intersect with the creeping gentrification anxiety on display in It Follows.

symposium
By Giovanni Vimercati | May 16, 2017

Trump’s order Enhancing Public Safety in the Interior of the United States creates echoes of one of our nation’s darkest moments.

review
By Nick Pinkerton | May 5, 2017

An upper-crust costume drama without the courtly trappings or whalebone stiffness, the film has nary a tripod shot in sight, and moves along with a disconcerting, lurching motion.

review
By Justin Stewart | April 21, 2017

Free Fire is often reminiscent of the cash-in Tarantino-esque titles that invaded video stores after Pulp Fiction, time capsules like 2 Days in the Valley, City of Industry, or 8 Heads in a Duffel Bag, rather than being a new or exciting thing of its own.

review
By Nick Pinkerton | April 21, 2017

Without ever seeming to reign supreme over the European festival scene as, say, the Dardenne brothers or Michael Haneke have at various points, Dumont anticipates and exemplifies features of the contemporary art film to a greater degree than either of those Cannes mainstays.

review
By Nick Pinkerton | April 14, 2017

The Lost City of Z is beautiful, all the more so for not being beautiful in the obvious ways. Working for the second time with cinematographer Darius Khondji, who also shot The Immigrant, Gray films both jungle and English countryside with long lenses and a shallow depth-of-field.

review
By Nick Pinkerton | April 11, 2017

A Quiet Passion proposes the outwardly unspectacular life of Emily Dickinson not as the story of a no-hoper spinster but as an act of courage, the struggle of a woman to overmaster herself, to sacrifice her own life (and preserve her maidenhead) so that her work might live.

review
By Jeff Reichert | April 5, 2017

Graduation drops viewers firmly in contemporary Romania, and offers the image of a nation where the trappings of modernity have been uneasily papered over a people and culture with a deep history of patriarchal tribalism.

review
By Keith Uhlich | March 31, 2017

The first live-action take on the material, a big-budget Western production from Paramount and DreamWorks, is a worthy addition to the canon, if still exceedingly dubious in a number of its particulars.