Throughout, Josephine Decker effortlessly keys her intimate and eccentric style to her main character’s complicated inner turmoil.
Every scene in Josephine Decker’s film operates at a maximum frenzy fraught with subtext.
Decker discusses her film’s flamboyant imagery and her affinity for horror.
Josephine Decker is a dazzling artist, most notably for her commitment to everything that drives her characters.
In the end, the way the film transforms characters into mouthpieces for misguided hot takes is a bizarre miscalculation.
Flames grows tougher, weirder, and more ambiguous, casting much of its early cuteness in a starker light.
A concern of stereotypes, and multimedia’s exploitation thereof, runs through this haunting collection.
Alison Bagnall and her talented leads appear to effortlessly achieve a tone that’s tricky to sustain, one that abounds equally in absurdism and empathy.
The film’s more overtly observational moments never quite fuse with the more surrealistic passages to convey an organically convincing sense of a mind going on the fritz.
A confident work that smashingly updates the Southern gothic for contemporary generations.
Richard’s Wedding ends up seeming little more than an 89-minute hatefest.
Art History stands out as one of Joe Swanberg’s most visually and conceptually accomplished experiments.