It operates in an ambiguous register, suggesting that a woman is working in unison with nature to dole out revenge for their exploitation.
Vitalina Varela is the latest stage in a filmography that continues to evolve in moral terms as much as aesthetic ones.
The structure of Wildfire’s narrative doesn’t emerge out of a simplistic progression from strife to reconciliation.
When the film’s actors are given space to etch their characters’ feelings, they turn in strikingly naturalistic performances.
The film understands how its major cultural figures navigated a political minefield, while never taking its eyes off of them as people.
The film is a celebration of oral traditions as a means of giving purpose to even the most hopeless of lives.
American Utopia feels as much like a balm as it is a surprisingly direct call to political action and social betterment.
Denis’s oblique portrait of erotic angst receives a definitive transfer that demonstrates the full range of its poetic beauty.
It’s in its depiction of the communist party’s response to a peaceful demonstration that Andrei Konchalovsky’s latest is at its most effective.
The series eclipses its source material in capturing the omnidirectional dread of Lovecraftian horror.
Throughout, the film’s characters exhibit little life outside of their moments of tragedy and symbolic connections.
Criterion’s release of Noah Baumbach’s latest is built to last.
Klimov’s unbelievable vision of the agonizing hell of war is preserved in all its nightmarish beauty on this release.
The film is never more intense than when it’s finding parallels between its main character’s anomie and Korea’s dehumanizing expansion.
Enyedi’s playful rumination on a turning point in Europe’s history gets a gorgeous transfer from Kino.
The film unites its seemingly disparate strands of somber drama and deadpan comedy into a surprisingly cohesive whole.
One of the greatest films of the Soviet era receives a superlative 2K restoration that fully enshrines its spellbinding visual beauty.
The film is never more compelling than when relying on footage of the real NIYA DREAMers.
There’s a hint of Jane Campion’s own uncanny perversion of the banal throughout Lara Jean Gallagher’s film.
The series is a reminder that facing up to one’s problems doesn’t guarantee release, but does allow for the possibility of moving forward.