The long and circuitous narrative history of the so-called OCU weighs heavily on Eric Notarnicola’s film.
Balancing humanist optimism with a profoundly downcast view of our collective destiny, the film is inextricably of its moment.
Angela Schanalec’s film configures itself most potently in hindsight as a punch to the gut.
The film’s mood is one of ripe sensuality rather than pornographic exploitation.
The film is a curiously anodyne affair that proposes the distinctly unenlightening idea that the medicine against despair is just a little R&R.
For all its emotional restraint, Rick Alverson’s film builds to a point of remarkable pathos.
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 accrual 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.