review
By Matthew Eng | December 6, 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 Conor Williams | December 9, 2024

Self reflexive, political, and experimental, the filmisessentially the Carax take on Histoire(s) du cinéma (1988), in which Godard stitched together clips from hundreds of films in order to create his own critique of the art form.

review
By Chris Shields | December 6, 2024

These killers are seldom forced to face their victims, and because of this, they are free to live in a sanitized world of rationalizations and moral fantasies, remaining comfortable even as the earth and its inhabitants are dying just outside their doors.

review
By Chloe Lizotte | December 4, 2024

Abrahams frequently shifts aesthetic registers, from stylized vignettes to handheld observation, introspective narration to candid conversation, the heightened past to the quotidian present. Abrahams has explained that she wanted to evoke sense-memory, as if inviting the viewer into her own state of mind.

review
By A.G. Sims | November 26, 2024

Mohammad Rasoulof is part of a rich legacy of courageous Iranian filmmakers who have bravely challenged the authority and inevitability of the Islamic Republic, through resistance films that have often left them exiled from the homeland and people their art is fighting for.

interview
By Kambole Campbell | November 22, 2024

The silent approach makes the otherworldly encounters even more striking. The animals, of course, do not have the vocabulary for what they are seeing—thus it becomes a test for the audience in turn, of interpretation and meaning. Zilbalodis talked to us about creating this physical language and sustaining it for feature length.

review
By Matthew Eng | November 21, 2024

In collaboration with Huppert, who has seldom appeared so playful and unguarded, he depicts Iris as supremely attentive and sympathetic to her students, while challenging them to dig deeper and shine a light on the thornier parts of themselves that they tend to keep buried.

review
By Saffron Maeve | November 15, 2024

Kapadia again expertly maneuvers themes of romance, ambition, and injustice in her second feature, a languid, affectionate triptych of three working women in Mumbai coming to terms with their varying displacements.

review
By Caden Mark Gardner | November 15, 2024

His body of work has gotten increasingly whimsical and pedantic; here he substitutes kitchen-sink realism for an aesthetic that feels like a pre-distressed t-shirt.

feature

The way we see a game—whether we can control the camera or not, whether the frame moves or is static, how the frame moves—is an artistic quality as important as (and often interlocked with) its interface, its methods of immersion...

review
By Adam Nayman | November 11, 2024

It is the very aridity of its emotional content, parched to desert-of-the-real levels by de-aging effects that render Hanks and Wright (and several of their co-stars) as weirdly artificial and subject to illusionistic manipulation as their environment, that is so startling—and, for the most part, beguiling.

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.