Shadow of the Holy Book is a failed attempt to shame the vast array of international corporations that do business in Turkmenistan.
“The Almost People” is an episode with a dual function.
Raúl Ruiz’s Mysteries of Lisbon is a film of exquisite elegance.
3 is about the possibility for opening up to the possibility of experiences beyond the socially proscribed norms.
8 Million Ways to Die turned out to be the final film of one of the most endearing filmmakers from the New Hollywood era.
Opening night arrived with one of the least memorable films of recent memory.
One major reason that Malick’s films are so divisive is that they’re so nakedly emotional, that he’s so blatantly aiming for the sublime.
It’s an experience that has the power to rewire your brain to perceive of a world that hovers just beyond our grasp.
Last week’s mix of Lovecraftian horror and ancient romance is followed up with a harder-edged, industrial sci-fi thriller.
Slaves to money and then we die, indeed.
A weekly playlist of the newest tracks we think you need to hear.
What, you forgot there was a French story in Intolerance?
Note to self: Be careful what you wish for.
Terrence Malick’s The Tree of Life never stops moving forward.
With his latest, Nuri Bilge Ceylan is purely interested in slowly unveiling a thematic can of worms that will tear people apart one long take at a time.
The 60 shorts and features in this year’s Migrating Forms festival are not, in any ordinary sense, train movies.
Drive’s narrative trajectory goes down a long and winding road into hell.
Across his latest, Almodóvar melds his consistent themes with an unsettling combination of warm compositions and sinister desires.
So, this is going to get very disgusting very soon, and it’s not for the squeamish.
The sky is falling in Melancholia, but the impending apocalypse is more slow-motion dive than outlandish spectacle.