The film leaves us with a haunting sense of life in Naples existing in a liminal state.
The film’s desire to resist easy storytelling paradigms is admirable, but only up to a point.
The film attests to a craft’s enduring importance at a time when resources for it have declined.
Jay Kelly represents the moment when Baumbach has gone fully soft.
For Marcello, the only responsible art in times of need is a responsive art.
The duo provide fascinating insight into how they understand the relationship between twins.
The film is less a portrait of one martyred man than a mosaic of a resistant community.
The film patiently illustrates how places imprint themselves upon us and guide our actions.
Covino and Marvin discuss balancing visual and verbal humor, shooting on film, and more.
Splitsville proves that Covino’s The Climb was no fluke.
Russell discusses how he updated The King of Comedy for today’s world of fans and stans.
Shanks discusses Together’s bodily contortions and what the ending means to him.
Burnett discusses why it remains so important to show Black life as it is.
A spirit of restless reinvention characterizes Tortorici’s aesthetic approach.
The film is at its best when it’s keyed to its main character’s breakneck energy.
Serra discusses how being close to a torero taught him to take risks in his work.
The writer-director-actor discusses how the film is in conversation with other depictions of sexual assault.
Friedland and Chalfant discuss aesthetics adding empathy to the recreation of dementia.
Byrne’s film is an unsuccessful fusion of creature feature and slasher.
Flanagan’s film doesn’t escape the mires of unpersuasive pop psychology.