Heidi Ewing’s tale of immigration and deportation afflicting the lives of a Mexican gay couple flashes its reason for being at every turn.
Just in time for Halloween, a list of our favorite films currently streaming on Hulu.
Orson Welles and Dennis Hopper both understand that cinema’s inherent fakeness is the wellspring of its importance and its danger.
This double helix of a biopic offers a twisty chronology and a slate of perspective-shifting surprises.
Because its focus is so split, the film lacks the pervasive sense of danger one expects from a spy thriller.
Brandon Cronenberg’s film is obsessed with tensions between mind and body and old and new technologies.
Dick Johnson Is Dead isn’t a biography of Kirsten Johnson’s father, but rather a reflective self-portrait of the filmmaker herself.
The film fails to use its millennial characters to investigate contemporary attitudes about the possibility of world annihilation.
Sebastian Junger and Nick Quested’s prismatic look at a devastating new chapter in the War on Drugs lacks for cohesiveness.
Its revolving-door atmosphere papers over some iffy acting, baggy dialogue, and more than a few minutes of wasted real estate.
This new Boys in the Band is a Matryoshka doll of period piecery, a flashback of a flashback of a flashback.
It pulses with relevancy in a time when debates over authoritarianism, protests, and the necessity of radicalism are convulsing America.
Sofia Coppola captures how our idealized, movie-fed ideas of “night life” reflect our longing for adventure as well as our loneliness.
The multihyphenate artist discusses why the medium she wants to work in comes before her ideas.
The low-key, serene natural beauty of Beginning’s setting provides a counterpoint to the often-disturbing events of the film.
It operates in an ambiguous register, suggesting that a woman is working in unison with nature to dole out revenge for their exploitation.
Although its crime-caper structure is worn extremely lightly, Kajillionaire represents Miranda July’s first real flirtation with genre.
Ava isn’t only banal, but also, in its half-hearted stabs at novel ideas, seemingly content with its banality.
The film reminds us that behind the numbers and procedures of a court case are actual lives existing in actual, human time.
In Kossakovsky’s latest, common farm animals have rarely seemed so un-human.