These films are generous reminders that cinema isn’t always about diagnosing global problems.
Aneil Karia’s Hamlet is one of the more intimate adaptations of Shakespeare’s play to date.
Mermaid is at once a creature feature, tragic romance, and stoner drama.
The film is a vapid cocktail of big-budget technical mastery and lack of artistic ambition.
Gladstone discusses what she still carries from her experience playing Mollie Kyle.
Borgli’s relationship comedy is mercilessly uncomfortable and impudently funny.
Ozon’s take on Albert Camus’s novel is transportive and tragically humanist.
This is a film that’s content to imitate its influences rather than build an identity of its own.
BenDavid Grabinski’s film is less of a crime drama than a punch-drunk comedy of errors.
Lapid discusses the necessity of shooting Yes while the carnage in Gaza unfolded.
Peet finds layers of shading in what could have been a dull and simplistic role.
Lapid’s film locates a dire spiritual crisis facing the nation of his birth.
Meredith Alloway’s immediately conjures its own strange reality.
The film is lean, mean, and feisty, even if it doesn’t quite stick the landing.
The sequel is just a retread of things that the first film pulled off with more cartoonish energy.
This list is part sheepish capitulation to the role the Oscars have played in our lives.
Based on a true story, Tow is flawed by a fundamental lack of authenticity.
Coppola’s documentary spotlights the humanity and hard work that inform the look of luxury.
In conjunction with the release of Marc by Sofia, we ranked Sofia Coppola’s films.
Late Shift depicts time and mortality, rather than class structures, as antagonists.
Koberidze discusses his Sony Ericsson-shot feature and why he’s fascinated by pixelated images.