Patrice Chéreau may be among the working filmmakers the most attuned to the human body.
Le Corbeau may be far from trite, but it is just as far from profound.
Perfect Life is a panoply of perfect, perfectly repulsive moments.
Chlanda discusses her process as an actress and her experience making Contact.
Someone recently told me that film and video artists produced 2.5 billion hours of viewing material last year.
Throughout his life several of Truffaut’s deepest relationships were with movies.
The film is simultaneously gut-churning, heart-wrenching, and head-thunking, a smorgasbord of alienation and detonation.
“Gravedancing” squanders the dramatic potential set up by the last episode’s conclusion.
The film is a compilation of deadpan vignettes about Romanian life under Ceausescu’s authoritarian ’80s rule.
In the age of CGI and Cirque du Soleil, even the play’s technical “spectacle” often seems as retro as its fossilized script.
The problem with Be Good is one that it shares with other, similarly ambiguous character studies about people with hidden pasts.
Kore-eda Hirokazu’s Air Doll cares not for gritty reality but merely the stuff of fairy-tale movies.
Unlike “The Constant,” it’s mostly a table-setting episode.
Robert Altman’s Nashville is one of those rare films that feels more timely, more relevant, the more time goes by.
Watching Dollhouse over these past few weeks has been a strange, almost schizophrenic experience.
Tomorrow, I meet a camp Indian cowboy, two Aboriginal car thieves, a lonely girl impregnated by her own father, and a bunch of undead Nazis.
The occasional trenchant idea only makes you more impatient with Romero wasting his time with jokey shadows.
The play’s spectacle is so overwhelming that you nearly overlook its flaws.
the bodies corporeal and politic are one and the same in Morphia.
The most significant exception to Yang’s concern with the present day remains the much lauded but rarely seen A Brighter Summer Day.