Reverse Shot A different angle on moving images—past, present, and future

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.

What starts out as an environmental parable, pitting respectful efforts to live in balance with nature against shortsighted corporate greed, turns into something far stranger and more disquieting.

The 15-year-old me would have gotten a big kick out of Civil War—but for better or for worse he’s not writing this review.

The Zellners do not lean into such a crude comparison, yet it is hard not to read the dissolution of the cryptid community as an echo of the real-life devastation settler-colonialism has wrought on this continent’s peoples.

This film is incendiary, but it should be discussed not just for its controversy. What makes this film significant is how it engages with the iconography of IP superhero blockbuster cinema and with the trans film image.

There is nothing new under the sun in the films of Alice Rohrwacher, which pay their respects to the beauty and mystery of older civilizations while suggesting that exploitation—of people, and of physical and spiritual resources— is almost as ancient as the world itself.

The village first drew Zhang Mengqi back as a subject in filmmaker Wu Wenguang’s Folk Memory Project, a collection of oral histories from people who lived through the Great Famine.

Like Godard, Radu Jude is acutely aware of how every image or sequence of images can be sorted into genres, textures, colors, references, and so on, categories whose associations stretch back into the whole of cinema’s past.

Being lost is a condition of possibility, which the film’s characters practice half with intention and half by circumstance.

That the output of Fessenden over four decades has been taken for granted is one thing, but it is more like his being taken for granted has itself been taken for granted, as grimly self-fulfilling as any dark prophecy about pentagrams and the need to stay off the moors.

Shot on a combination of MiniDV, Betacam, and 16mm, Arthur&Diana is laden with nostalgic references. Locations are filmed in color with a handheld camera evoking the Dogme 95 movement.

Midi Z’s film, shot between 2017 and 2023, documents the period leading up to the 2021 coup by the Tatmadaw—Myanmar’s military—that deposed the democratically elected National League for Democracy and installed a military junta.

Prayers for the Stolen showed her preternatural knack for filming space and time in a realist mode, but Tatiana Huezo's approach to her latest work is even more impressive.

Delineating a war requires accounting for tremendous complexity and historical context that’s difficult to capture in 120 minutes. But as this film conveys, the best storytellers are the city streets.