By Vikram Murthi | April 25, 2019

Mitchell crafts a shaggy dog mystery with various potentially aimless threads to create a pervasively hallucinatory atmosphere that suggests danger behind every corner and answers just out of reach.

By Sarah Fonseca | April 19, 2019

Rafiki was banned by the Kenya Film Classification Board ahead of its Cannes premiere in 2018, yet it was not erotic content that unnerved those in power and triggered censorship. Instead, it was her compassionate handling of the young love between Kena Mwaura and Ziki Okemi.

By Demitra Kampakis | April 11, 2019

Elisabeth Moss plays the character at the center of this swirling psychological vortex, and does so with a reckless abandon that is cathartic and very impressive, if not slightly unnerving in its commitment.

By Nick Pinkerton | April 11, 2019

There is some satisfaction that comes in seeing motifs and symbols established within the first part of the film as they re-emerge in the galvanizing high-wire act performance of the second, though I am unconvinced that the seeding of these symmetries can entirely justify the moribund experience of what has preceded.

By Jordan Cronk | April 3, 2019

In typical Denis fashion, she presents the story through an unfolding series of sensory details: a humid garden, a pile of lifeless bodies, a gathering puddle of sweat and semen.

By Susannah Gruder | March 29, 2019

Diane asks what it means to build your life around other people, and what happens when those people begin to slowly disappear.

By Michael Koresky | March 29, 2019

Peele unleashes a bevy of conceptual ideas about race, class, and American-ness that are only difficult to grasp if the viewer is not really looking. Us is supremely confident filmmaking, a thrill ride shot through with existential urgency.

By Adam Nayman | March 15, 2019

The theme of honor among thieves, and its embedded suggestion that outlaw principles are a form of resistance in a fundamentally lopsided society, is fulfilled at epic length in the new Jia Zhangke crime drama Ash Is Purest White.

By Emma Piper-Burket | March 15, 2019

The slow escalation throughout the film builds to show quite clearly how the confluence of time, boredom, prejudice, and weaponry create a situation with devastating consequences for all involved.

By Caden Mark Gardner | March 15, 2019

There is not much the audience is allowed to learn about Lara beyond her being trans and a ballerina. To make matters worse, Dhont makes a visual obsession out of her anatomy and otherness.

By Tayler Montague | March 8, 2019

The transfixing close-ups of Jamaicans are evidence that the eye is the window to the soul; each dead-on stare into the lens heightens the personal and political histories overlaid on the soundtrack.

By Michael Koresky | March 7, 2019

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.

By Peter Kim | March 5, 2019

What suffers the most from this LSD-induced breakdown of social order is the sanctity of distinctly hetero-normative values: the innocence of the child, the heterosexual couple, the pregnant mother.

By Adam Nayman | March 1, 2019

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.