Andrew Haigh’s film always feels perched on the precipice of unlocking a deeper register.
Haigh discusses the theme that runs through all of his work: our struggle to feel less alone.
Writer-director Andrew Haigh’s Lean on Pete exudes a quiet but self-evident sense of struggle.
Andrew Haigh’s film has an urgency for epic things to happen to its main character in the most literal sense.
Haigh’s haunting film receives a flawless transfer and a helpful lot of production-oriented supplements from Criterion.
Exquisitely nostalgic, the movie is as comfortable, and as complicated, as a reunion with an old friend.
It’s the summative effect of the story’s modest exchanges that lends the film its profound sense of loss.
It has the feeling of a first date, but ends with a reckoning, run through with the conviction that we can never really leave the past behind us.
45 Years is basically a showcase for Haigh’s finely tuned screenplay and the performances of its two leads.
Director Andrew Haigh and writer Michael Lannan present a suggestive exchange of stories that feels both familiar and remarkably specific.
It may seem quotidian compared to the current requirements of the weekly series format, but its attention to detail isn’t given nearly enough credit.
With the premiere of Looking, Andrew Haigh finds himself at a new standstill.
It emerges as a dramedy exploring how gay men clumsily negotiate the appropriate distance to place between the words “friends” and “benefits.”
The film is one of contemporary cinema’s great love stories, perhaps one of cinema’s great love stories period.
One of Yossi’s virtues is Eytan Fox’s refusal to boil his main character down to an easy psychological framework.
The film isn’t a fearless repudiation of the “meet cute” archetype, but rather a bold, specific revision: “meet right.”
The film exudes the confidence of an artist willing to risk driving its audience up a wall in order to realize a defiantly unique personal vision.