Reverse Shot A different angle on moving images—past, present, and future

The Dreamed Adventure emerged from years of extensive field research and collaborations with the locals, who contributed not only their knowledge and personal histories that shaped the film’s narrative but also their indelible screen presence.

He is ultimately less invested in resolving the tiresome debate about how much lived experience belongs in fiction than he is in dissecting his late style and interrogating the artistic ambitions that have mutated and metastasized during the so-called winter of his career.

This second collaboration between married director Isabelle Stever and screenwriter Anna Melikova turns the Ukrainian home front of the Russian invasion into a crucible of daunting choices for a transgender man.

Pawlikowski mines postwar architecture for a pathetic fallacy. His wanderers seem to exist in a molecular relationship with their vacated milieus, which are an extension of their inner lives.

As the film unfolds, we are gradually confronted with a possibility that La Libertad raised but did not explore, that is, of a dramatic rupture, a decisive break in routine.

Dao is heady and lends itself to discussion along academic lines: postcolonial identity, ritual, patriarchy. But it wears its themes lightly, being largely content to accumulate three-plus hours of bodies in motion and people in conversation.

Equally indebted to Magnolia and Dreamgirls, Misty Green strives to be a multi-faceted character study revealing the dark underbelly of Los Angeles, where artistic ambitions run up against financial need.

In its portrait of a talent subject to the whims and manipulations of people and forces beyond his control, Behemoth! seems to be a lament for the permanently conditional status of a professional in the arts.

In their marvelous new screen adaptation of Mrs. Dalloway, Arie and Chuko Esiri allow Clarissa Dalloway to remain an enigma even as they update and enhance the sociohistorical context that gives her life.

Unfolding in more or less discrete chunks, Bucking Fastard plays like a kind of exquisite corpse, its genus uncertain.

As distractingly writerly as the extended conversations may be, the teens are a convincing social organism; the way they speak, walk, or even just lounge together to take in a lesson as if they’ve all truly known each other for years.

They discuss and debate the impact of the Harlem Renaissance, returning again and again to the relationship of art development and political struggle, as if orbiting around the topic might pull them closer to a definitive truth hovering just out of reach.

The film conjures the magical highway consciousness of a thousand unknowable stories running parallel to one another, heartbreakingly circumscribed by the Autobahn lanes, and, here, the rigid camera angles and disciplined structural approach.

Schleinzer immersed himself in hundreds of known instances across centuries in which women became men for any number of reasons. The character of Rose is thus a composite figure, borne of this exploratory process but not beholden to the facts and figures of a single history.