A zen-like study of aging and male friendship, Reichardt’s sophomore feature remains one of her best.
Thomas Heise’s documentary seeks to excavate real human thought and feeling beneath the haze of larger political structures.
Mann goes northward and skewers the myth of western pioneering in The Far Country.
Criterion updates their old package with further context around the film’s heady investigation of ancient witchcraft.
The film is greater in its confrontational force than the sum of a dozen festival breakthroughs lauded for their fearlessness.
This is one of the rare American films to give dramatic heft to the strategic challenges and mortal stakes of labor organizing.
Only in focusing so thoroughly on the normal does Paul Harrill’s film stumble upon the paranormal.
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 Schanelec’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.