Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Nayman’s discussion of Anderson’s ellipses implicitly cuts to the heart of why some critics and audiences resist Anderson’s work.
It’s a provocative juxtaposition for Dry Wind to stage its queer kinkfest at the epicenter of the land of Bolsonaro.
About a drug that sends its users back in time for seven minutes, the film holds your hand and walks you through its chronology mazes.
Darius Marder’s film captures, with urgency and tenderness, just how enticing the residue of the past can be.
The film’s purposeful archness challenges the sentimentality that marks many a film and real-life ceremony.
David Freyne manages to indict the societal expectation of heterosexuality as a traumatizing force while also humanizing its straight victims.
The film has an exciting, lived-in quality that elevates what are otherwise some markedly unsteady attempts at horror.
Bradley discusses how the forces of collaboration and intuition inform her filmmaking process.
The film is a pretty bauble of a thing that ticks off the story’s shock revelations in an efficient, if not particularly surprising, fashion.
The documentary adroitly demonstrates that Fisk is still motivated by the boyish curiosity that drew him to journalism.
The repetitious plot is more ritual than text as we watch yet another Liam Neeson avenger defy the will of younger, unscrupulous men.
The filmmaker discusses how Shithouse reflects the specifics of a certain life experience.
Nocturne is a reminder that the notes themselves are just as important as how you play them.
Elan and Rajeev Dassani’s Evil Eye has no set pieces, jokes, or surprises.
The film excels at capturing the emotional substance of what we think we remember about our pasts.
The myth of Joan Crawford’s life and career is inseparable from what she did on screen.
In French Exit’s best passages, sadness and curt, resonant comedy exist side by side unceremoniously.
The film is a quietly enraged, and enraging, assault on Donald Trump’s handling of the Covid-19 pandemic.
Over the Moon mixes the unbridled free-association of playtime with an undercurrent of barbed satire.
Only when left to their own devices do the film’s stars enter the less manic, more heartfelt realm of the book.