The film awkwardly pitches itself between a somber drama and antic melodrama.
The film is fatally convinced that it has a subversive relationship to genre.
The film suggests that there’s a way to reconcile oneself with the ghosts of cinema past.
One of the best and most inventive rom-coms in recent years gets a beautiful transfer from the Criterion Collection.
Trier and his actors discuss finding maturity on and off screen, and how they pulled off the film’s searing centerpiece breakup scene.
The film may be the prime example of how to restore fun, significance, and even a little bit of sex to a well-worn genre.
The film never sacrifices its ambiguity as it brings various threads about ghosts, relationships, art, and gender to a head.
That a drop from the Jaws score wouldn’t be out of place on 22 July’s soundtrack shows how tactlessly Paul Greengrass milks tragedy for titillation.
Dominique Rocher reinvigorates the zombie film only to succumb to the strictures of the coming-of-age romance.
Director Jacques Doillon’s shrewd ellipses emphasize time as a great and uniting humbler and thief.
A ghost story as much about the vanity inherent to international stardom as it is coming to terms with grief and death.
The film explores the extent to which Olivier Assayas’s characters have always found, and lost, their identities.
The film fails to lay down the character foundation that might have elevated the third-act histrionics.
Oslo, August 31st succeeds as a finely observed portrait, as much as an evocation of social ills.
One city, one day. That Aristotelian unity is an alluring structure for a film.
With his latest, Nuri Bilge Ceylan is purely interested in slowly unveiling a thematic can of worms that will tear people apart one long take at a time.
Yet another reminder that the Academy’s Foreign Language branch doesn’t know shit.
The film is loaded with one moment of bliss, shock and awe after another as lives cross and crash into each other in the same spirited way the celluloid slows down.