By Patrick Preziosi | July 7, 2022

The new film from Claire Denis diagnoses the traps of modern romance, the aphorism-heavy sex and proclamations of complete devotion masking an essential incompatibility: it is possibly her least romantic film to date.

By Matthew Eng | July 6, 2022

Fire of Love is a singular and sublime new documentary about a couple that risks the sentimental in order to realize the truly romantic.

By Dan Schindel | June 24, 2022

Flux Gourmet favors a maximalist brand of satire, inflating mundane peccadilloes into epic proportions.

By Michael Koresky | June 3, 2022

Even after his string of fictionalized autobiographical films, Davies featured surrogates whose experiences allow him to come to terms (philosophical, aesthetic, moral, sexual, always personal) with a world that has too often betrayed, disappointed, and made shame out of beauty.

By Eileen G'Sell | June 3, 2022

Tonally uneven and a bit didactic in its dialogue, Crimes is nevertheless a film that both takes itself as a serious piece of art and lampoons the appetite for novel spectacle that subsumes so much of contemporary visual culture.

By Kambole Campbell | June 2, 2022

Vividly imagining a new future for the African diaspora, Neptune Frost is a sprawling Afro-centric science fiction that at once uplifts the oppressed and dresses down neocolonialism and binary thinking.

By Lawrence Garcia | May 24, 2022

Miguel Gomes is a director who tends to enfold question, answer, and, especially, non-answer, into his actual films. His latest, The Tsugua Diaries, co-directed with his partner Maureen Fazendeiro, is arguably the most systematic working-out of this tendency.

By Matthew Eng | May 20, 2022

So much of the screenplay is concerned with the flashy presence of big, topical themes like Trauma, Abuse, and Toxic Masculinity. Garland is intrigued by these themes as talking points, but he is incapable of incorporating them into the lived realities of his characters in ways that feel organically rooted in real-world concerns.

By Ryan Swen | May 16, 2022

The sense of characterization emerges equally from the supposed downtime, the moments between the conversations.

By Forrest Cardamenis | May 13, 2022

The resplendence of the cave sequences must be seen to be believed, and their ingenuity marks Il Buco as a significant work of digital filmmaking.

By Philippa Snow | May 11, 2022

The most provocative reason Thyberg could have given for Linnea’s career is the un-thrilling reason almost everybody has for going to work: to pay the bills, to secure housing, and to live.

By Katherine Connell | May 2, 2022

Though certainly less chaotic than The Lighthouse in unearthing repressed desires beneath manly bravado, The Northman suffers from a similar overestimation of both the perversity and brutality of its imagination.

By Michael Koresky | April 28, 2022

Noe uses two cameras to capture all of their travails in intimate close-up, allowing us to see them both at once using split-screen. Such a formally rigorous approach tends to call attention to itself, naturally inviting questions of aesthetics and perception.

By Lindsay Brayton | April 23, 2022

It’s best to keep your wits about you while watching Lou Ye’s gorgeous and surprisingly playful latest film Saturday Fiction, set in Japanese-occupied Shanghai.