Ice Choir pays tribute to Kurt Feldman’s longtime infatuation with the radio-ready new-wave bands of the ’80s and early ’90s.
It isn’t very fashionable to be a moralist in art these days.
The staging is so endlessly, even incestuously, self-referential as to earn the epithet mise-en-abyme.
Sylvain George is the modern era’s poet of revolt.
Spectatorship, being forced to watch from a remove while uncontrollable events transpire, is one of Amour’s subterranean themes.
The slender facts in this particular case can’t even begin to withstand the mammoth weight of a 150-minute running time.
Hillcoat’s latest cements the mainstreaming of an original.
Garrone follows up Gomorrah with a more contained treatise on surveillance as transcendence and entertainment.
Critics get a bad wrap for being “out of touch” with the masses, but Tomatometer listings indicate that critics have been surprisingly forgiving of superhero fare.
The cinematography, by longtime Seidl collaborator Wolfgang Thaler, in tandem with Ed Lachman, is particularly fine.
Student attempts to do for Crime and Punishment what Darezhan Omirbaev’s earlier Chouga did for Anna Karenina.
The film is an intensification of the rigorous aesthetic preoccupations and occasionally precious thematic concerns that have long marked Anderson’s films.
Abendland is more than a meditation on how our lives, from birth to death, have become mechanical, and so aseptic.
You could call it a tragicomedy of mistaken identities.
Bani Abidi’s Death at a 30-degree angle created a rich, at times humorous deconstruction of political monuments.
“Take a Walk” exists in that rare category of catchy, danceable music.
After last week’s thematically spastic episode, it’s refreshing to see that a simple and direct, albeit unambitious, theme unites the various plot strands here.
If a hand up through the throat doesn’t quite do it for you, perhaps you’ll be better served by one inching out through an eyelid.
Terence, meet Terence.
These 15 heavens almost all exist on another plane.