Though Visconti operates on the surface level of the material, he crafts a seductive surface.
The Devil’s Bath details a social configuration at once familiar and alienating.
Kinds of Kindness is Lanthimos’s longest film, and the one most hamstrung by his pet interests.
Margolin and Squibb discuss the film’s stunts, working with Richard Roundtree, and more.
The indifference of the system toward Native lives hangs like a dense fog over the film.
The film is at its most visually sumptuous when immersing us in Riley’s belief systems.
Ghostlight isn’t shy about spotlighting parallels and resonances between life and art.
The film suggests that our sense of gender identity bears the imprints of our family histories.
Because its observational moments are so rich, its thematic bluntness becomes harder to accept.
Despite its title, the film captures little of Katherine Parr’s supposed fervor or fortitude.
The film doesn’t relent from showing us how bad things will get if we stay on our current course.
Ishana Night Shyamalan shares dear old dad’s own storytelling crutch of voluble overstatement.
Potente and Tykwer discuss why the film is like a playground for audiences.
The film is most effective when it isn’t indulging in narrative sleight of hand.
Ride or Die plays out like it might be preparing us to let go of its big-name legacy leads.
The film is most memorable when it wallows in the allegorical registers of its images.
This is a film of tremendous emotion, spirit, and paradoxically restraint and ambition.
Nash discusses where he drew inspiration for cross-pollinating styles for his debut feature.
The film is mostly content to see its protagonist as an implacable force of self-determination.
Think of Chris Nash’s film as Béla Tarr doing an unholy doc-fiction hybrid about Crystal Lake.
Interview: Richard Linklater on ‘Hit Man,’ Playing with Identities, Working with Glen Powell, & More
Linklater discusses whether people’s identities can change with enough will power.