There’s something both odd and reassuring that the most hyped young horror director in America today is a full-blown classicist.
Not many films have ever approached the possibilities afforded by the slippery subjectivity of cinematic time so directly.
Martin Scorsese’s affection for cinema is, of course, no surprise, and Hugo doesn’t shy away from stumping for the cause of his Film Foundation.
Watching Play, one smells a rat.
Like all great cinema, the film is beyond belief.
If Santiago Mitre doesn’t transcend the issues of the writer’s film with quite the grace of A Separation, he nonetheless manages to make good use of a fine cast.
What can we say about a film that makes a miracle seem like the most common thing in the world?
Miss Bala doesn’t sublimate Gerardo Naranjo’s strengths into a commercially viable package.
A Golden Novak Djokavic, in recognition of otherworldly improvement in 2011, goes to Yorgos Lanthimos for Alps.
Low Life’s perpetual twilight evokes a space between the late films of Robert Bresson and Pedro Costa’s digital works.
As unburdened, freely (dis)associative works, it’s barking up the wrong tree to assign meaning to a film by Nathaniel Dorsky.
Mohammad Rasoulof’s Good Bye brings Rossellini’s ’50s to today’s Tehran.
Tacita Dean approaches the problem of filming the notoriously reticent Cy Twombly by finding the most cramped, hidden spaces to stick her camera.
Unlike the dire Red Riding Trilogy, Dreileben occurs in vertical rather than horizontal time.
Costa’s latest study in life and work, the finest film of 2009, gets a fittingly rich treatment from Cinema Guild.
A major film, and a troubling one, a key piece of the Romanian New Wave finally makes its way to home video.
An intensely intelligent look at American history and a blueprint for how to (un)make it, from one of our country’s finest directors.