This season has constructed situations for the characters that could hold steady after the series ends.
The episode plays out during its first half as an elegantly staged prelude to an invasion.
The festival, which runs from March 3rd to 6th, already seems to have the country’s most important social issue on its agenda.
My King might have been more resonant had Maïwenn allowed more time and space for her characterizations to organically develop.
These films present very different versions of motherhood in France, both of which emerge out of social precarity.
The theme of growing up, in fits and starts, is a through line in “Good Man.”
By the end of the episode, it feels as if only Rick’s motley group of survivors has moved closer to a better tomorrow.
More than a great queer film, Don’t Call Me Son is a great career move for Anna Muylaert.
The season finale, written and directed by series creator Chris Carter, is charged with implicative catharsis.
The season-five premiere of Girls is a microcosm of the series as a whole.
The episode is by and large a necessary, if not exactly radical, pressing of the reset button.
Bellocchio’s aesthetics reflect the conversation between past and present in imaginative ways.
Ray Davies seamlessly transitions to the role of director and shapes his artistry for a new format.
The film is a refreshing and overdue exposure of the violence that white male privilege breeds and needs to reassert itself.
Celestine’s submission to an evil and violent man becomes an eloquent indictment of a nation’s anti-Semitism.
Despair and ecstasy erupt from the fabric of the film with a blistering, almost physical intensity.
Mia Hansen-Løve suggests that the desire for fulfillment—of ideology through revolution, of true love through coupledom—is a cute illusion wasted on the young.
The episode is tone deaf in a memorable what-the-hell-were-they-thinking sort of way.
It never breathes, never looks away, never digresses. Every single scene is a confrontation of its one and only theme.
It’s almost jarring to now see it follow so closely in the comic book’s narrative footsteps.