Features
A series full of mistaken identities and roving impostors, Twin Peaks: The Return is a heads-up to look for cinema in places other than where it’s alleged to be found.
One of the unexpected pleasures of this Twin Peaks was just how unexpected it was, how it didn’t seem interested in reheating an old dish in the name of “fan service.”
Much of what is dearest in cinema can be credited to brash buccaneers and independent operators working at the periphery; few are the film artists, like Lynch, who can maintain freedom of the margins.
One of the jobs of the artist is to find the space that is most conducive to the practice of their art at the given moment; one of the jobs of a functioning cultural commentariat is to follow artists to those spaces.
Years in Review
Best Supporting Actress, Best Monologue, Worst Supporting Gay, Most Tonally Strange, Best Age-Inappropriate Romance, Paul Giamatti Award for Overacting, Best Bookends, and much more
At the heart of Benning’s practice is an unmistakably avant-garde thesis: ordinary ways of experiencing reality need to be transcended with the help of cinema.
Cobbled together from home movies that the Brazilian director amassed throughout four decades living in Paris, the film constructs an autobiography of sorts from what its author happened to film over the years.
It’s an expansive visual travel journal—Chidgasornpongse rode all of Thailand’s train lines over the course of six years—though on screen it seems as though it’s all happening in a single day (represented in 102 minutes of footage).
Through its oversaturated, auto-exposed, and coarsely textured images, Let the Summer Never Come Again makes visible the mechanisms of its fiction.
Years in Review
The Shape of Water; Three Billboards Outside Ebbing, Missouri; The Disaster Artist; The Killing of a Sacred Deer; Rat Film; Wonder Woman; Victoria & Abdul; Beauty and the Beast; City of Ghosts; Baby Driver; Wind River; I Love You, Daddy
Syrian filmmaker Ziad Kalthoum has created a study of men anguished by conflict without ever exploiting their predicament.
In just 50 minutes, nooks and crannies of humanity are explored with a deftness and potency it would normally take a six-part TV series to uncover.
Spanning three visits to Chongqing over the course of one year, the film focuses on three of Shibati’s residents as they reckon with forced displacement and the dismantling of their homes and businesses.
Shot in Poland for 35 days over the course of a year, this debut feature unfolds in a measured and unvarnished style that reflects the anthropologist eye of director Anna Zamecka.