Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Writer-director Anne Fontaine bypasses any attempt at faithfulness to her source material.
Even overlooking its account of an inexplicable political resurgence, it falters in its needlessly convoluted plotting.
Think of writer-director Andrey Zvyagintsev’s film as Scenes from a Marriage for the age of social media.
Marshall arguably intends for societal 20/20 hindsight to provide the bulk of perspective throughout.
We talked with Ai about his new film’s political and aesthetic virtues.
Alexandre O. Philippe’s 78/52 comes to life when riffing on the psychosexual perversity of Alfred Hitchcock’s Psycho.
Annemarie Jacir’s Wajib suggests that Palestinian survival depends on acts of self-erasure and self-betrayal.
Happy Death Day twists the inherent repetitiveness of slashers to its advantage by exaggerating it to an impossible degree.
We discussed depicting the past and politics, as well as the crossover between JR and Varda’s art forms.
Professor Marston and the Wonder Woman is a film about eroticism and passion that is neither erotic nor passionate.
Throughout Kentucker Audley and Albert Birney’s film, one may wonder if and when someone will wink at the camera.
The narrative of writer-director Chloé Zhao’s The Rider is a fairly familiar one of daredevilry and recovery.
Director Natalia Leite’s ambition and accompanying uncertainty give the film its unruly and resonant energy.
Breathe is an easily digestible replica of the truth, bathed in honeyed cinematography and sentimentalized adulation.
It presents patterns in suicidal people while according them humanity, which isn’t a small accomplishment.
Andrew Haigh’s film has an urgency for epic things to happen to its main character in the most literal sense.
A uniquely American comedy, Greta Gerwig’s Lady Bird is testy, humane, and firmly rooted in its time and place.
The film is a paean to the 20th century’s moving image as well the invisible, Oz-like figure of the collector-as-curator.
Blade Runner 2049 is so terrified of disreputability that it renders itself dead from the waist down.
It suggests four episodes of My Little Pony: Friendship Is Magic smushed together with a Sia music video tacked on at the end.