The experience of watching Dominga Sotomayor’s film is not unlike entering a stranger’s dream without an anchor.
Its stylistic fluctuations are a sign of a filmmaker really wrestling with how she became the woman and artist she is today.
This year’s selections exhibit a scope and ambition that should continue to draw adventurous filmgoers for years to come.
Němec burst out of the gate with this stirring, unorthodox depiction of trauma set during the Holocaust.
This rigorous film is concerned with questions of cultural appropriation and the very texture of life in our content-saturated present.
In its balance of a wispy narrative and long, quiet episodes of textual close reading, the film feels incomplete in a productive way.
The film is a singular work of American independent cinema that speaks to a more global artistic sensibility.
A once-in-a-generation cinematic poet leaves us with a hypnotic, quietly enchanting farewell testament, but Criterion doesn’t fully rise to the occasion in properly honoring it.
Samuel Fuller’s libido-fueled, feverishly stylized B western gets a lavish reincarnation on home video courtesy of Criterion.
The film finally ends up souring its perspective on responsibility with a hardened take on the limits of the American dream.
It often exhibits an interest only in the accruing of incidents, which eschews psychological shading.
The film steers clear of bad-faith miserabilism by virtue of Richard Billingham’s from-the-gut specificity.
It celebrates the unrecognized willpower and perseverance that undergirds low-wage service work in this country.
The film is a fine example of Wilder’s mid-career eccentricity and cosmopolitan curiosity.
The droll world of writer-director Joel Potrykus’s Relaxer is defined by feats of man-child pettiness.
Kino has delivered a set that admirably preserves the delicate effects of Tarkovsky’s seventh and final film.
The film admirable in its defiance of recognizable modes and its naked showcase of Dumont’s exploding imagination.
In every scene, the film’s cutting is dictated by the turbulent pace of the characters’ inner lives.
In a move that reaffirms its structuralist concerns, the film concludes on a bald-faced homage to Wavelength.
If nothing else, writer-director Hlynur Pálmason’s film is a feat of formal conception and craftsmanship.