By Giovanni Vimercati | October 6, 2017

Throughout his career he has chronicled life on the margins to find beauty where others only see barren squalor. Rather than a rhetorical stance, his commitment to lost causes stems from a genuine contempt for conformism, while the anti-naturalism of his dramaturgy abstains from sentimentalism and emotional manipulation.

By Adam Nayman | October 4, 2017

Guadagnino and screenwriter James Ivory have produced a film that simultaneously analyzes and dramatizes issues of sexuality, religious identity, and, once again, privilege and yet without straining against its clearly marked narrative boundaries.

By Justin Stewart | October 4, 2017

There is a formal adventurousness here typical of Kurosawa, who has seesawed between genres both throughout his career (horror, sci-fi, and dramas like Tokyo Sonata) and within individual films (Doppelganger transitions from a loss-of-identity thriller to a sort of satirical romance). The constant element is a sure-footed aesthetic precision.

By Michael Koresky | October 2, 2017

The disconnect between the liberated shooting and editing style and the social entrapment actually experienced by its characters gives The Florida Project its indeterminate feel and ungainly shape.

By Daniel Witkin | September 30, 2017

The first thing you should know is that Western is not really a western. Valeska Grisebach draws upon genre iconography and mythos, but to take the comparison further requires wishful, willful thinking, an act of projection that the filmmaker cannily encourages and exploits.

By Adam Nayman | September 28, 2017

If one of the principal powers and pleasures of cinema is its ability to momentarily suspend thoughts or cares about what lies outside the frame, then Zama can be taken an object lesson in manipulation. Every strenuously controlled moment and movement constitutes an irresistible entreaty to simply go blank and watch.

By Elbert Ventura | September 27, 2017

Set in one location and trotting out a cast of five, Abundant Acreage Available is as lean and concise as its title is long and lumbering. MacLachlan first came to our attention as the screenwriter of Junebug, a lovely portrait of the tensions that bind a family.

By Michael Koresky | September 15, 2017

Aronofsky piles on incidents (rather than plot), bodies (rather than characters), until what once had the potential to be a pastoral paradise has become a writhing, grasping, cluttered Bosch-like abyss.

By Julien Allen | September 6, 2017

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 Jeff Reichert | August 21, 2017

Nocturama is up to many things, perhaps including taking the piss, and it is not always easy to disentangle its aims.

By Benjamin Mercer | August 11, 2017

Their vision of a polarized and polarizing New York seems to have crystallized in a rather extraordinary way: to the Safdies, the city is at once a purgatory and a wonderland, a crucible that forges both deep grievance and limitless compassion.

By Nick Pinkerton | August 4, 2017

Bigelow is a filmmaker of no small power and intuition, although the movie at times seems curiously hesitant, hedging its bets with little bits of insurance against blowback or the possibility of being misunderstood.

By Elbert Ventura | August 2, 2017

The burdens and blessings of our patrimony, both cultural and personal, are an overriding concern in the debut feature by Kogonada. Columbus lingers on the juxtaposition between the architectural masterpieces that bedeck the region and the pedestrian lives of its residents.

By Julien Allen | July 21, 2017

Until now, his stubborn auteurism has foisted upon audiences a surfeit of heavy psychodrama, cinematic doggerel, and narrative stodge where the excitement (which he has always shown himself capable of engineering) should have been.