With his latest, Spielberg clutches to the memories of bygone moments and media.
Suzuki discusses his influences and process, his kinship to his main character, and more.
This is an idiosyncratic debut by a fiercely independent artist eager to take on the world.
Kamal Aljafari’s documentary is politically striking for its familiarity.
The film feels like a circus act, a well-dressed elephant on a unicycle juggling a dozen balls.
This Screenlife heist flick is an unlikely study of Gen Z nostalgia.
All of the film’s discursive branches stem from the same root.
Blue Film is a scrappy and profoundly unsettling chamber drama.
Suda51 discusses his preference for collage aesthetics and artistic collaborations.
Akin’s film is a humble monument to the capacity for generational change.
Chao is a boisterous celebration of the flatness and fluidity of hand-drawn animation.
The film is a vapid cocktail of big-budget technical mastery and lack of artistic ambition.
Ozon’s take on Albert Camus’s novel is transportive and tragically humanist.
Lapid’s film locates a dire spiritual crisis facing the nation of his birth.
This remake abounds in subtle touches, but not every modernization feels additive.
The film lays on chatty world-building that becomes less coherent the more of it there is.
The game in all its multiplicity comes off as a meaningful evolution for Grasshopper.
Raimi’s film is zeitgeisty without being ostentatious about it.
The film spares some thought for the big questions of privacy, policing, and A.I.
The film at once wrings its premise for whimsical absurdism and slow-burn suspense.