Souleymane Cissé targets his film specifically at polygamy’s prevalence among the leisure class.
The assiduous storytelling gives a satisfying and disturbing glimpse at how one man’s obsessive, perfectionist drive.
Ade’s film is an instant contender for the pantheon of breakup movies.
At best, Don Argott advances David Simon’s art to offer a leaner, meaner template for complex investigative filmmaking.
If A Jihad for Love demonstrates the mountainous struggle Muslim homosexuals face daily, the bonus footage on the DVD reiterates that they’re far from alone in having much work still to do.
Serbis may be the first film to equate third-world life in the late capitalist era to squatting in a rundown porn palace.
Jia Zhang-ke’s latest is simultaneously more and less than meets the eye.
Hong Sang-soo hurtles full-bore into the subjectivity of the horny man with Night and Day.
Perhaps carving enough space for the previously unheard voices of Muslim gays to speak is enough to ask of this socially groundbreaking work.
Li’s monomaniacal insistence on showing the dark despair lurking in the unheralded corners of Chinese society achieves a strident integrity.
What ultimately emerges is a schizophrenic survey of the many ways in which Bob Dylan has (possibly) seen himself.
Gus Van Sant finally crawls out from under his Béla Tarr-inspired long-take detachment and dares to explore an interior landscape in ways not seen since My Own Private Idaho.
The film proves to be just as engaged with the impossibility of heterosexual relations and the vagaries of desire.
It’s exciting as well as a little nerve-wracking that Hou Hsiao-hsien’s latest feature offers many firsts in his career.
For better or worse, the film passes along with the fey twilight of a late Manoel de Oliveira film.
Brian De Palma’s paradoxical take on the occupation of Iraq is as blatant as an open sore yet swathed in layers of formalist irony.
Both films offer pleasurable perversities lying in the cracks of Cathay Studios’s brave new world.
This is definitely one of those films made of moments greater than the whole.
Both employ vivid palettes of light and color to evoke feelings of adventurous movement through time and space.