review
By Shonni Enelow | June 18, 2024

Lacey is our observer, but we sense that she does not really want to be. She tries to penetrate her mother’s sadness, but remains outside the adult world of her lovers and friends, pains and longings.

review
By Lawrence Garcia | June 6, 2024

What distinguishes the film from a slew of other indie dramas, though, is how this conflict unfolds not just in spoken dialogue, but in the creak of the floorboards, muffled conversation through thin walls, the hum of the radiator.

review
By Eileen G'Sell | May 31, 2024

Eschewing traditional methods of exposition like dialogue and voiceover, Hvistendahl reveals character relationships and plot primarily through meticulous attention to audio and visual details.

review
By Michael Sicinski | May 30, 2024

Forgoing any touristic impulse, Patiño takes his cues from filmmakers such as Peter Hutton and especially Mark LaPore, charting not only the people and places before him but also his fundamental distance from those environments.

review
By Shonni Enelow | May 24, 2024

What a pleasure to watch a movie without a guilty conscience. What a relief to get to enjoy what everyone knows: movies create us, in our own fantasies and other peoples’, in our behaviors and expectations, in our public selves and erotic drives.

review
By Dan Schindel | May 24, 2024

It is remarkable how many common prequel issues Miller and co-writer Nick Lathouris are content to sidestep entirely. Furiosa has almost no meta-shibboleth winks to fans or superfluous cameos.

feature

For the third year, Museum of the Moving Image film curators have visited the Cannes Film Festival and have engaged in a dialogue about the films on offer.

feature

If consumers are paying the big bucks for a game (especially one they have technically already played), what are they actually getting? Padding is, unfortunately, almost always the answer, but Rebirth takes it one step further by padding an arguably padded extension of a fragment of an existing game.

review
By Lawrence Garcia | May 17, 2024

In placing us so fully within the complexities of the COVID-era present, Coma reveals our very inability to unify it in thought.

review
By Jeff Reichert | May 17, 2024

In Our Day sets two unconnected, rhyming narratives against each other for scrutiny—like looking at two paint samples from the same spectrum side by side and parsing the differences.

review
By Conor Williams | May 10, 2024

Creton builds his characters up from the outside; they lack a real sense of interiority. Where A Prince thrives is in its lush cinematography, inviting the audience into cozy, well-worn interiors and verdant, rich landscapes.

review, feature
By Mark Asch | May 10, 2024
First Look 2024

The film is another of brothers Bill and Turner Ross’s immersions in the regional euphoric...The filmmakers are after a kind of Herzogian ecstatic truth, often to be found in the kinds of spaces where someone is likely to be rolling on literal ecstasy.

interview
By Nicolas Rapold | May 10, 2024

In this new interview, the legendary cinematographer sits down to revisit his career by looking at unforgettable images from his films, specifically those by David Lynch and John Cassavetes, and recalling how he helped to create them.

review
By Nicholas Russell | May 9, 2024

The film is a digressive, musically driven bildungsroman told through a series of vignettes that glimpse slivers of contemporary West Indian British life. Ové shoots London as alternately drab and vibrant.

interview
By Juan Barquin | May 9, 2024

The whole movie sort of feels like a meditation on our memories of suburbia, our memories of TV shows about suburbia, and the way that lives on in a dream space. It’s more fun that way for me.