The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
For all their looking back, our favorite films of the year don’t engage in thoughtless nostalgia for an earlier time.
The film is as fiercely economical as Jaume Collet-Serra’s best work.
Ross discusses how he and his collaborators pushed forward the idea of point of view.
The film fails to take advantage of the most basic fertile ground of its concept.
As it sprints through the most notable moments of Dylan’s life, the film lapses into incoherence.
There’s a lot of Miyazaki Hayao’s Nausicaa in the film’s visual language.
The documentary is invigorated by Herzog’s persistently quixotic line of questioning.
Gia Coppola has crafted a film that feels fleeting and illusory by design.
The film presents a way of life where the only friction is between “man” and “nature.”
Eggers’s cinema has an aesthetic ravenousness about it that’s both stylish and sequestered.
Pasolini leverages little in the way of words to tell his version of the story.
Magnus von Horn’s film consistently conjures a disorienting and claustrophobic effect.
Moana’s great voyage winds up taking her around in circles.
Rasoulof discusses his resolve to keep telling stories in the wake of his multiple imprisonments.
Kuritzkes discusses his collaboration with Guadagnino on Queer and Challengers.
Zilbalodis discusses what he hopes people will make of the film’s ambiguities.
For devotees looking to see Wicked explode on to the screen, Chu’s vision won’t disappoint.
Paddington in Peru offers an idea of Britishness that’s multifaceted and modern.
The film paints a vivid portrait of what life was like for Black South Africans under apartheid.
Gints Zilbalodis’s animated feature is movingly attuned to its characters’ primal instincts.