This time capsule of bohemian New York distorts its representation of the city for reasons more loving than lazy.
There’s possibly no other living director as in sync with the politics of touch as Claire Denis.
The film pulls us back in as easily as an old friend after a years-long absence.
Stark and stripped-down, Skolomowski’s film is a fatalistic fable eschewing the political in favor of the existential.
When it comes to Julie Delpy, the key question remains the old Barbra Streisand one.
Loosies seems to mostly exist as an opportunity for Peter Facinelli, a longtime character actor, to assume the center stage.
We spoke with Perry about his film, then asked him to make a list of some of his most memorable moviegoing experiences.
Vincent Gallo’s high-pitched whine is back in full force for his latest effort to seize the title of cinema’s great, obnoxious total filmmaker from Jerry Lewis.
François Ozon’s latest is more like Pastiche.
The film is drunk on the possibilities of cinema in a way that’s rare and essential. A sparkling Blu-ray transfer makes it a must-see.
Someday this fascinating curio by a major European filmmaker will get its full due.
Trouble Every Day is quite possibly Claire Denis’s most challenging and unsettling film, both utterly typical of her approach and yet also a true outlier in her career.
The film gives visible shape to Coppola’s ambivalent attitude toward the ability of fiction to help us understand our own lived past.
The film meditates on the myriad permutations of love and sensuality, from familial longings to food fetishes.
Perhaps Denis’s most approachable mix of humanism and erotic meditation.
Trouble Every Day aches with spiritual dread.
Vincent Gallo’s indulgent film ultimately feels like one giant act of cinematic self-gratification.
It demonstrates director Claire Denis’s signature obsession with the human body, cultural rifts and the permissions of sex.