Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
These films depict in distinctive ways the process of coping with and even accepting the dead’s presence in our lives.
Sigh, can we just edit this whole Oscar season from our memories?
Honestly, we’re so gobsmacked by AMPAS’s skullduggery that we can’t even see what’s right in front of us.
These films suggest the cinema as another place where we can simulate and reflect on life within and surrounded by natural landscapes.
Throwing questions of artistic merit out the window, opponents of a Rami Malek win have dutifully cast doubt on his ideological purity.
As the film becomes increasingly reliant on predictable narrative tropes, it evolves into the very thing it set out to parody.
Nadav Lapid’s film feels constantly like it’s not telling the audience something it needs to know.
Christopher Landon’s heady and entertaining sequel is a multiverse murder mystery rooted in experimental physics.
The film is, essentially, a lecture, with Varda’s talks from multiple events threading together highlights from her oeuvre.
Farhadi discusses the universal human instinct to distrust outsiders, the strong similarities between Spanish and Iranian culture, and more.
We’re well passed the halfway point in our Oscar prediction cycle and we’re struggling to sustain what little excitement we have for this enterprise.
Its intention is to put human faces to ISIS recruits, but its representation of radicalization is still uncomfortably one-sided.
Money corrupts, Cristina Gallego and Ciro Guerra’s would say. Easy money corrupts completely.
Behold the Biopic, the Pillar of the Great Man!
There’s a good chance that a female filmmaker will walk away with the Golden Bear for the second year in a row.
The actor discusses his lifelong fascination with fighting, doing his own stunts, his experiences with violence, and more.
Sergei Bondarchuk often seems to be attempting to synthesize the entire history of epic historical filmmaking into a single work.
Year in, year out, Oscar voters have tended to judge this category in favor of the film that least makes them feel embarrassed to support.
Paige’s search for an in-ring persona mirrors the dynamic between performance and identity at work in pro wrestling.
The documentary illuminates how art and artists live together in a symbiotic existence, each giving as well as taking.