By Jackson Arn | November 17, 2016

With his willingness to throw ordinary characters into almost unbearably tragic situations from which no greater meaning seems salvageable, Lonergan stands apart from the bulk of American narrative directors working today.

By Jeff Reichert | November 17, 2016

Marcel is the younger of the pair, and over the course of the film, we watch him turn from 52 to 53, lose his wife of 16 years, navigate single parenthood, and attempt rehab for alcoholism.

By Genevieve Yue | November 8, 2016

To the extent that eroticism is about arousing acceptable forms of sexual desire, then, Elle tries to separate its motivations: using sex because one needs it, i.e. to satisfy a compulsion or dominate another through rape (unerotic), or enjoying it as an end in itself (erotic).

By Michael Koresky | October 20, 2016

Directed with a rare combination of aesthetic vigor and emotional delicacy, this is a film that resonates in our culture and moment not because it was manufactured to matter, but because in its every breath it has clearly stayed true to itself.

By Jeff Reichert | October 19, 2016

Instead of immersing us solely into the experience of the immigrants arrived at Lampedusa, Rosi winds us around the small island again and again, meeting its lifelong denizens and newly arrived, feeling its culture and traditions and how they have or have not been affected by the influx of refugees from abroad.

By Kelley Dong | October 19, 2016

Ironically for Park Chan-wook, idolized for his male revenge fantasy Oldboy, the film is an attempt at feminist filmmaking. Its structure embodies not only the female gaze but also female subjectivity, the subconscious, memory, and so on, with swift camera movements and alternating chronologies.

By Adam Nayman | October 18, 2016

Probably the most impressive thing about Under the Shadow is how it manages to integrate the social and political realities of its chosen time and place into the demands of a genre narrative.

By Julien Allen | October 15, 2016

Their contrivance is based on philosophical truths about human behavior, combined with faith in their audiences to distill truth from fiction. Their cinema presents an almost constant dialogue between the mundane and the colossal.

By Adam Nayman | October 14, 2016

Her ability to wrangle A-list talent for her B-minus budgeted productions, is a testament to talent, self-determination, and judicious sense of adaptability—all of which could be descriptors of the people we see onscreen in Certain Women.

By Jeff Reichert | October 14, 2016

In Aquarius, a woman in her sixties faces threats (some real, some perhaps imagined) to her continued existence in the titular three-story beachfront apartment building she has lived in for decades and which developers hope to raze and replace with a lucrative high rise project.

By Leo Goldsmith | October 13, 2016

It is hard not to perceive something darkly subversive in the making of a film in which a beloved cinematic icon sits in bed, made up like a poodle and festooned in wig, frills, feathers, and fabrics, rotting away from gangrene while a whirlwind of bland and ill-equipped hangers-on try vainly to keep him preserved.

By Jeff Reichert | October 11, 2016

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.

By Adam Nayman | October 9, 2016

The tension in Sieranevada is between the various lies told and recalled by its characters and the relentless objectivity of its camera, which swoops, pans, hovers, lurks, sulks, and retreats in sync with its subjects but, crucially, does not embellish.

By Daniel Witkin | October 9, 2016

While the New York–set Hermia and Helena carries on the alternately fastidious and freewheeling sensibility of his previous Shakespeare films, it is the first to be set outside Argentina, as well as the only one thus far to engage with the Bard in English.