By Chris Shields | March 20, 2022
At the Museum

The Balcony Movie is about the contingency of human perspective and what that means for our lives and relationships, but it is also about what thoughtful works of art can create.

By Vikram Murthi | March 19, 2022
At the Museum

The premise/gimmick features Guido Hendrikx behind the camera as he approaches the doorsteps of strangers and stands there waiting for any kind of encounter.

By James Wham | March 19, 2022
At the Museum

These evidential images provide a midpoint between knowledge and history, and between a subjective and objective truth. This is the framework for Loznitsa’s archival cinema: a kind of foundation on which we can build a better understanding of the world.

By Chris Wisniewski | March 18, 2022

With Ahed’s Knee, writer-director Nadav Lapid returns—with a vengeance—to his native Israel after his 2019 detour to Paris with Synonyms, and with its predecessor, Ahed’s Knee shares traces of autobiography.

By Ela Bittencourt | March 18, 2022

Muntean depicts well-meaning urban folk who aim to help the country’s rural areas but end up needing rescuing themselves. Muntean’s story is then a social parable disguised as an adventure movie, with undertones of folkish horror.

By Jeff Reichert | March 18, 2022
At the Museum

Over the course of four hours, Loznitsa constructs a granular record of Lithuania’s moves towards independence.

By Mark Asch | March 17, 2022
At the Museum

The film, starring Adele Exarchopoulos as a hard-living, pain-numbing flight attendant on a fictional low-cost carrier, is a welcome indictment of the leisure culture and spiritual malaise of the Common Market.

By Ela Bittencourt | March 11, 2022
At the Museum

The film frames masculinity as endless, at times excruciating showmanship . . . The director articulates poignantly the heartbreak of familial love crudely bound up in the performance of power.

By Sam Bodrojan | March 4, 2022

When I’m on the set, I’m learning about what I’m constantly drawn to. Part of it is instinct, and part of it is your own obsession, what you’re drawn to. Once I started making films, without losing that theoretical approach completely, that’s when you start gravitating towards things that move you or that attune you.

By Matthew Eng | March 4, 2022

Great Freedom confirms Rogowski as a protean and exceptionally physical performer, a screen star who appears to emit his own force field.

By Susannah Gruder | February 3, 2022

The film is a richly layered look at the conflicting longings and impulses of early adulthood, the cinematic equivalent to a bittersweet love song that also happens to be catchy as hell.

By Juan Barquin | January 21, 2022

His penchant for fantastic narratives has caused many to liken Hosoda to Miyazaki, but work hews closer to the heightened melodrama of his contemporaries in anime like Makoto Shinkai and Naoko Yamada. His tenderness and perpetual optimism are key to why Belle and his other films are as beautifully drawn as they are.

By Christina Newland | January 18, 2022

Licorice Pizza conveys summertime dreaminess with very little of the lassitude that usually comes with it. Sun-drenched teen suburbia never moved so fast; everyone is always running toward or away from something, whether cops, coke-crusted movie producers, restaurants, or pinball palaces.

By Sam Bodrojan | January 5, 2022

Resurrections is born from a different era; its text is concerned with the matters of trans people who have lived openly as themselves long enough to have actualized those desires and develop new fears.