Maren Ade possesses as fine an instinct for calibrating the emotions of her characters as any working director.
There’s a quietly revelatory virtue to Paterson in its resistance to disturb its subject’s life.
Jeff Nichols doesn’t bring to Loving the same excitement and urgency he brought to his more genre-driven work.
At maybe half or a quarter of the length, American Honey might’ve gotten by on this surface-level vision.
The sex never escapes the feeling of the very exploitation that it’s supposed to represent a rejection of.
Cruelty here can feel cheap, perhaps a result of Dumont not knowing how to effectively command comedy yet.
Guiraudie’s latest represents a lot of the same interests that were woven into Stranger by the Lake.
It’s the unlikely third-part arrival in a widescreen, English-speaking Australia in 2025 that proves to be Jia’s undoing.
In a competition otherwise marked by compromise and caution, Hou Hsiao-hsien’s austere, astounding film feels like it’s been beamed in from another era entirely.
The one saving grace of Sicario is the considerable talent of cinematographer Roger Deakins.
Weerasethakul’s films have always been marked by their tenderness, unobtrusive rigor, and desire to splice the straightforward with the oblique.
To confer a bit of artsy edginess, Trier peppers this slickly shot, scripted-to-death family drama with flashbacks, dream sequences, and what-if scenes.
Carol slots into Haynes’s filmography like a wintry, understated cousin to Far from Heaven.
The first and by no means last example of The Sea of Trees’s egregious literalism appears even before the film has properly begun.
Lanthimos’s films live and die by their concepts—or gimmicks, depending on your outlook.
The most telling revelation in Tale of Tales has little to do with ugly sisters, transmogrified monsters, or angry ogres.
Goodbye to Language sees Godard make the leap to 3D with jaw-dropping results.
The film is one of the Dardennes least morally nuanced films to date.
With his latest, Nuri Bilge Ceylan’s characteristic obsession with his country’s variegated topography takes him to Cappadocia.
Hazanavicius takes on the horrors of war in this remake of Fred Zinnemann’s 1948 film The Search