Richard Linklater’s film sees performance as a fundamental part of our lives.
Paul B. Preciado’s documentary quite aptly languishes in an undefinable interstitial space.
A desperate yearning for belonging is central to Boetticher’s subtle and serpentine westerns.
The wry humor of the film masks profoundly complex and painful undercurrents of emotion.
In its own way, this is as suitable a final work as a culminating magnum opus.
Foe fails to adequately redress or rework played-out tropes within its high-concept world.
Rejtman’s serio-comic fifth feature reminds us of how absurd and beautiful a mortal life can be.
Miyazaki’s film suggests that the Earth will keep spinning long after the old masters have left us.
Many of the ghosts and whispers of the past were on display at the festival’s 48th edition.
The sense of getting nowhere proves crucial to grasping le Carré in all his impish glory.
The film’s highlight is Amanda, a tempest of fully embodied desperation and psychosis.
If there was ever a time when we needed to be reminded that the art of cinema is in robust health, it’s now.
The film has an amorphous inconsistency that seems to be as much a feature as it is a bug.
Glazer’s film is about the soulless march of a careerist’s life.
The Sweet East is pretty fuzzy on what it wants its national tour of brainless dogma to mean.
The film asks us to sit on a knife’s edge, where the threat of violence is constant.
Edwards finally finds the balance between arresting images and grounded emotional stakes.