review
By Saffron Maeve | October 7, 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 Shonni Enelow | October 7, 2024

The making of the play provides the dramatic scaffolding for the unfolding of life, but both the skit and the college life that surrounds it are presented as spontaneous, oblique, and devastating in their elisions.

review
By Matthew Eng | October 5, 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 A.G. Sims | October 4, 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.

review
By Caden Mark Gardner | October 4, 2024

It is a work of Robert Coover–like fabulation and Beckettian existential absurdity that highlights baseball’s incongruities and contradictions. There has not been a fictional sports movie quite like Eephus, which deliberately unravels itself at the seams.

review
By Shonni Enelow | October 4, 2024

Between the writtenness of the text and the flat planes of the modernist upstate house Martha has chosen as the location to end her life, the film’s melodrama tips into abstraction.

review
By Conor Williams | October 3, 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.

interview
By Edward Frumkin | October 2, 2024

During the two year filming process, the number of places, curators, artists, and artworks involved, plus the historical context, produced so much content, and I mean useful content, that it was impossible to contain in 120 minutes.

review
By Bedatri D. Choudhury | October 1, 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.

review
By Leonardo Goi | October 1, 2024

The intention here was to make an erotic film without relying on or showing sexual acts. That was something I told myself from the very beginning: no one will make love this time.

interview
By Marya E. Gates | September 30, 2024

I had the image of these two coal miners in the dark kissing. I think this is because I am always interested in the spirituality of Earth, of the depth of Earth. There is something very spiritual in that. And this film is about home and leaving home.

review
By Saffron Maeve | September 29, 2024

Her first English-language feature, the film relinquishes some of Athina Rachel Tsangari’s steadily calamitous humor and Greek locales, while preserving her institutional critiques of capitalism and chauvinism.

review
By Michael Koresky | September 27, 2024

Shot on 35mm in shades of ominous gray by cinematographer Lol Crawley in the mid-century VistaVision format, the film is so gripping moment to moment that it’s almost convincing in its determination to be a definitive American epic.

interview, feature
By Asha Phelps | September 26, 2024
At the Museum

Troublesome Creek: A Midwestern won the Grand Jury Prize and Audience Award at the 1996 Sundance Film Festival. The story of the Jordan family being forced by harsh economic realities to give up the farm they''d worked for decades is a poignant and beautiful epic in miniature.

review
By Jourdain Searles | September 20, 2024

Using an overtly erotic visual language that verges on the puritanical, Fargeat bludgeons the viewer, reducing men to slobbering wolves unable to contain themselves in the presence of a youthful woman. The film’s women have no artistic ambition beyond the thrill of being watched and fawned over.