review
By Gavin Smith | November 5, 2024

Eastwood has no illusions about the legal system, but at no point does he suggest that it is rotten. In fact, the story he is telling puts its faith in the personal integrity of public officials and the facing of inconvenient facts.

review
By Gavin Smith | November 1, 2024

In the wake of the Small Axe cycle, McQueen now sets out to submit British cultural identity to a stress test during a period of maximum crisis.

feature

Bram Stoker's Dracula, The Mask, Arrebato, The Stuff, Cuadecuc, vampir, Tall Shadows of the Wind, Drag Me to Hell.

feature
By Kelli Weston | October 30, 2024
This Must Be the Place

Although shot in 2000, Frailty heralds themes that would trouble the coming era (and its cinema): Christofascist warfare, “cleansing” the region of unsavory figures, the son split between patriarchal fidelity and his own scruples.

review
By Bedatri D. Choudhury | October 25, 2024

In Dahomey, where its namesake country no longer exists in its original form and a community pretty much means all of a new nation’s citizens, the question of who receives the artifacts becomes contentious.

interview
By Nicolas Pedrero-Setzer | October 25, 2024

Over the last decade, Mexican director Alonso Ruizpalacios has established himself as one of the most daring filmmakers working within his national film industry.

review
By A.G. Sims | October 17, 2024

The films of Sean Baker, collectively approaching something like a sexploitation genre unto itself, seem to be trying to split the difference between Hollywood and raw grassroots guerilla cinema, landing on a kind of pop realism that feels aesthetically uniquely his, if hollow at the core.

interview
By Chris Shields | October 17, 2024

Maddin and the Johnsons here trade their decaying, manic images for something more coolly sustained and unsettling, creating an insular nocturnal mindscape where the banal and fantastic seamlessly mingle.

review
By Vikram Murthi | October 16, 2024

For better or worse, Aaron Sorkin has made his dramatic metier out of the kind of organized backstage chaos portrayed in Saturday Night; it cannot be understated how strange it is to watch someone poorly imitate his style, draining it of any rhetorical rhythm while retaining the self-importance.

review
By Matthew Eng | October 12, 2024

Under the cover of blackout curtains, a woman jolts herself awake with a hair-raising shout. She catches her breath, but cannot shake off her ring of panic, the quiver and cold sweat of constant fear. This will be one of the more peaceful moments of her day.

review
By Forrest Cardamenis | October 11, 2024

Caught by the Tides represents a different kind of film that can emerge from unorthodox methods and stands as a testament to the medium’s long-term possibilities.

review
By Lawrence Garcia | October 10, 2024

Rather than see the film as a tentative foray into fiction, it may be more useful to consider The Damned as a film that explores how one might have gone about making a documentary during the Civil War.

review
By Eileen G'Sell | October 9, 2024

Set in the humid depths of the Amazon basin, Transamazonia byPia Marais exudes a rhythmic, meditative quality in tension with its disquieting mise en scène and cogent postcolonial critique.

review
By Leonardo Goi | October 8, 2024

For a tale of doomed love and excruciating loneliness, the sixth feature from Miguel Gomes is not powered by sorrow so much as an inordinate fondness for the world, a film where director and characters alike seem determined to find beauty in the most unexpected places.

review
By Conor Williams | October 8, 2024

Cohen suggests that modern cinema, unshackled from genre, is more powerful than we may give it credit for. His work is porous, holding room for all these possibilities and more.