Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
There’s a little Charlie Chaplin in the Joker’s steps early on, before madness grips him in ways that would probably make Pennywise shudder.
Its refusal to commit to its passing fancies is a highly intentional declaration of Qiu Sheng’s arthouse bona fides.
It will be exciting to see how Jarmusch takes his transcendence of genre conventions to its breaking point.
In a film that features Charles Manson and his disciples, there’s something unsavory about presenting Sharon Tate as one of the crazy ones.
The film packs as many tortured subplots and pre-chewed sociological insights as can possibly fit into a two-hour runtime.
The film is humanistic exploration of Italy’s “southern problem” and a thorough indictment of nationalist and imperialist agendas.
Brie Larson’s directorial debut is nothing so much as a series of quirks.
So much of the film is given over to highlighting David Hare’s confusion as a tourist in a conflict he can never fully comprehend.
Ljubomir Stefanov and Tamara Kotevska’s film reminds us that there’s indeed a better way to interact with our planet.
This rigorous film is concerned with questions of cultural appropriation and the very texture of life in our content-saturated present.
Varda spent the better part of her life ruminating on the nature of time, the interior and exterior lives of women, and the socially marginalized.
Jones discusses how he and his collaborators were able to inform Diane with such verisimilitude on a limited budget.
Lila Avilés’s film reserves the possibility of flirtations with disaster to turn into acts of emancipation.
With the film, Harmony Korine solidifies his position as the premier cartographer of the Sunshine State as a place of unhurried pursuits.
Tim Burton manages to put his stamp on this clunky behemoth of a film, but in the end, the Mouse always wins.
The film’s commitment to the forthright tedium of old-fashioned westerns and crime procedurals is just, well, tedious.
Phuttiphong Aroonpheng’s film is an oblique portrait of Thailand’s Rohingya refugee crisis.
The film is at its most intense, and sexiest, when it’s also at its most unknowable.
Michal Aviad’s film forcefully brings home a reality that many of us have been aware of only intellectually.
The actress speaks at length about the little pieces of herself that she sees in her character.