The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
This year’s edition of the festival is a cinematic cornucopia unlike any other.
The tone of Neo Sora’s film wobbles between a sober social commentary and outright satire.
Araki discusses how society has and hasn’t caught up with his incendiary trilogy of films.
The film is a devious commentary on the all-too-human desire for easy explanations.
Like his hero, Corbet has made an unvarnished monument to the authentic American character.
The film is a handsomely mounted production in which much of the filth feels stage-managed.
The film is about the fraught ambiguities of seeing through a one-way mirror.
The film dots a sparse thread of plot with mini-masterpieces of cinematic ultraviolence.
The film is a parable warning against nostalgic attempts to recreate the past.
The variableness of this movie is the risk of a working method as rapid and intuitive as Hong’s.
Natalie Erika James’s prequel engages with Rosemary’s Baby purely on franchise terms.
The actors discuss their physical and philosophical approaches to the self-reflexive tale.
The film becomes virtually incoherent in a ploy to keep us on the edge of our seats.
It retreads ideas familiar from time-loop stories without offering anything especially new.
Cooley winningly takes the robots in disguise back to where they started: animation.
The film intriguingly plays with our expectations of who the heroes and villains are.
The film, like its predecessor, leans into durational extremes but reveals a broadened scope.
Megan Park’s film achieves poignancy without stumbling into gooey sentimentality.
In spite of its righteous indignation, Nightbitch heels instead of getting too messy.
Whenever the film lets the critic do his criticizing, McKellen is a wicked delight.