The film mines its tale of magic for an imaginative allegory about the excesses of scientific inquiry.
Wang Bing’s Bitter Money straddles a line between raw information and a formed, if open-ended, narrative.
This is a gruesome art-world fairy tale unafraid to face the bitter details of its hero’s tumultuous life.
The vacillating nature of Melissa Leo’s Mother Reverend is characteristic of Margaret Betts’s Novitiate as a whole.
Biscayart discusses acting as a form of therapy and why more people should think about dying.
The documentary wavers between a sincere investigation of the avant-garde music group Laibach and self-satire.
We discussed depicting the past and politics, as well as the crossover between JR and Varda’s art forms.
The film’s segregated world hints at a town’s (and country’s) racial tensions without actually examining them.
The film ripples with a palpable sense of the sheer distance between the down and out actor at its center and his goals.
It sharply trumpets Dolores Huerta’s life and centrality in the turbulent history of social justice since the ’60s.
Even its sensitive and gorgeous choreographies can’t fully offer respite from the hollow narrative.
Kogonada on working with Haley Lu Richardson and John Cho and seeking “modernism with a soul.”
Mooney talked to us about nostalgia, VHS collecting, and getting trolled by Donald Trump.
Weinstein discusses filming one of New York’s most cloistered communities.
Brigsby Bear’s uneven narrative is sometimes only as frustrating as a little static on an old VHS.
Rossi discusses how he brought Okpokwasili’s vision of radical empathy to the screen.
The documentary is an insightful portrait of the former American president and the world that he shaped.
Matt Reeves’s War for the Planet of the Apes is a film that resides in an ethical grey zone.
The film is always at least gut-rumbling and keeps its humor in situations that are morose and awkward.
Maud Lewis herself couldn’t paint a hurricane that would blow the film’s overburdened narrative off course.