Though Visconti operates on the surface level of the material, he crafts a seductive surface.
Kamal Aljafari’s documentary is politically striking for its familiarity.
Daniel Roher’s modern noir has an appealing cleverness and lightness of touch.
Kurosawa’s first historical film offers a master class in framing and blocking.
Mandalorian and Grogu is, basically, four Mandalorian episodes wearing an IMAX trench coat.
Despite its title, Schoenbrun’s film is less about sex and death than sex and cinema.
This year brought 18 features and seven shorts, all presented with live musical accompaniment.
Riley discusses how he views boosting as inherent to capitalism.
Jude’s “variation on” Octave Mirbeau’s novel is an exuberant hodgepodge of genre modes.
There isn’t much room in Brennand’s film for contradiction or ambiguity.
The film feels like a circus act, a well-dressed elephant on a unicycle juggling a dozen balls.
“Primal” is a good word to describe the characters from these feature directorial debuts.
In the Grey has a jaunty spirit that cuts against the dour grain of many modern action films.
This Screenlife heist flick is an unlikely study of Gen Z nostalgia.
Barker discusses the careful balance of comedy and horror across his sophomore feature.
The film’s big set pieces are as chilling in their effect as they are confident in their execution.
Adapted from her 2018 play, Harris’s film is a bloody revenge thriller told like a campfire tale.
The acting legend discusses how he’s been changed by connecting to the consciousness of plants.
The film doesn’t totally succeed in capturing the show’s scope or thematic through line.
May the future of the TCM Classic Film Festival continue to be resonant.
This sequel to the maligned 2021 reboot is ravenous to get down to bloody business.