Rohrwacher and O’Connor discuss the ethereal qualities of the film’s main character.
Suncoast Review: Misplacing Its Priorities, Laura Chinn’s Coming-of-Age Tale Falls Into Cliché
This crowd-pleaser sets out to snuff out much of what’s so singular about its central story.
For all its thematic heft, and to its benefit, Exhibiting Forgiveness moves lightly.
There’s only so much Charles Stone III can do with the script’s “head held high” cornpone.
Shuchi Talati’s impressive debut feature fully recognizes the power of a lingering gaze.
Avilés discusses why it’s important to be in touch with a collective consciousness.
Soundtrack to a Coup d’Etat Review: The Rumble of Jazz and Politics in the Global South
The film is a stunning screed against colonial racism and state-sanctioned violence.
Sayles discusses how his 1996 neo-western noir speaks to the present political climate.
The film isn’t designed to challenge what you think you know about the Church of Satan.
Eternal You Review: Casting an Apprehensive Eye on the New Digital Afterlife Industry
The film approaches a new tech frontier with an objective, responsibly apprehensive, eye.
The Seeding’s scare tactics scare less than they remind us of other better and, yes, scarier films.
Like Identifying Features, Sujo favors leaving things unseen and unspoken.
The domestic box office wasn’t the only thing saved by Barbenheimer last year.
The film is remarkable for largely leaving emotions unresolved and relationships feeling messy.
The film is less focused on the freedom of catharsis than on the messiness of self-actualization.
The film only give voice to the politics informing the drama in spare moments of suspense.
Throughout The Beekeeper, our hero’s actions remain curiously unexamined by the filmmakers.
I Heard It Through the Grapevine Review: James Baldwin Reflects on His Time in the South
I Heard It Through the Grapevine makes the political personal at every turn.
In the film, the embrace of storytelling through song and dance is front and center.
The Book of Clarence has an energy that’s largely missing from its influences.
Gálvez discusses why his feature-length debut always had to exist within the western genre.