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

Kiefer’s paintings, sculptures, and architectural pieces are physically and metaphorically huge and heavy, burdened by their weighty materials and the history they reference.

This seat at the top table is a privilege afforded to the very few, given that the stripped-back format of Menus-Plaisirs exists completely outside the grammatical norms of the ultra-popular, commoditized tabloid documentaries littering the top ten rubrics of our streaming services.

Haynes is doing something extraordinarily delicate and difficult in May December, reminding viewers, with the lightest of touches, that we are all implicated and indulgent in the processes of social, cultural, and sexual exploitation that define the modern consciousness.

While hardly the sole practitioner of deadpan cinematic whimsy, Kaurismaki can push his methods close to magical realism; his little stories about ordinary people swing tremendous emotional heft.

As the voices interweave and sometimes overlap, the work begins to transcend both the individualistic and the monolithic, and recasts Woolf’s Orlando: A Biography as the story of a community, or what could be the story of humanity.

Each year, around 300,000 migrant laborers come to Huzhou, a major textile hub in eastern China, seeking jobs at 18,000 different small workshops. From 2014 to 2019, filmmaker Wang Bing embedded himself in the population there. By his reckoning, he and his crew shot 2,600 hours of footage.

The word poetic is undeniably apt in this case, especially as Raven Jackson is a poet herself. Her written words achieve a hyper-specificity that All Dirt Roads Taste of Salt thrums with. In both forms, she zooms in so far as to leave narrative behind, creating more mysterious, immediate sensations.

In a trademark shot for Coppola, Priscilla is captured from outside of a window, visually suggesting the psychological weight of what is essentially captivity and how being in her idol’s orbit only further alienated her from the outside world.

Shot between 2014 and 2017, the documentary observes life in four Palestinian refugee camps in the West Bank and Lebanon and in several Indigenous American reservations across the United States, drawing parallels between the spaces and the oppression of the people within them.

The Holdovers feels less like a return to form than a retreat to safety. Its initial pretenses of unpleasantness mostly feel like winks at the audience.

Scorsese shows how the brutality of American history begins on the smallest scale, that the human capability for deception and self-justification breeds epochal, even genocidal shifts—microcosmic expressions of large-scale historical atrocity.

The Delinquents is not a high-octane crime thriller about fleeing the law, but a whimsical, delicate tale of self-fulfillment and liberation in a capitalist society, and a narrative that defies logic and realism for the sake of its own freedom.

This hybrid courtroom drama-slash-psychological thriller is so conducive for both chin-stroking critical contemplation and a certain (highly rarefied) form of crowd-pleasing that it could just as easily have been engineered in a lab as crafted as a work of art.

Both microscopic and galactic-sized things appear roughly the same size within the film’s fixed 4:3 frame; it is up to you to decide what you are seeing.