The film suggests David Lynch’s masterful mindfuck Inland Empire for the influencer set.
This tale of spiritual and neo-colonial exploitation is unfocused and unrelentingly somber.
This cunningly devised thriller wields our assumptions against us like a sharp implement.
Andra Day and Glenn Close bring the film to life in a way that the literal ghosts wish they could.
Fede Álvarez maximizes what made the original movies so compelling.
The exhibition encourages a critical perspective on movie props and the world they come from.
Campillo’s oddly paradoxical film is at once lackadaisical and urgent.
In Constance Tsang’s feature-length directorial debut, silence speaks volumes.
These found-footage films further solidify Jude’s status as one of our most vital artists.
Monica Sorelle’s Mountains is a film about work that nonetheless champions leisure.
The film sees intimacy and isolation as two sides of the same coin.
Gearbox’s hit game series arrives on the big screen, losing its entire personality in the process.
Donaldson discusses her choice to let her main character sit in silence for so long.
The importance of touch between a parent and child looms large over nearly every scene.
The film perfectly encapsulates the disaffection, alienation, and paranoia of an era.
The film seems content to merely adapt the “Personal Life” section of Beckett’s Wikipedia page.
Trap is a film full of disorienting angles, split-diopter shots, and beautifully executed pans.
Like a well-executed heist, the film knows how to get in and get out with minimal fuss.
Soi Cheang’s bustling, lovingly crafted frames are a breath of fresh air.
The film has little to add on the subject of the interplay of politics and infectious disease.
The Adams family takes its first wobbly baby steps outside its homegrown horror comfort zone.