In Clint Eastwood’s Juror #2, Justin Kemp (Nicholas Hoult) finds himself in an unenviable position: not only was he selected for jury duty, but something odd o...
Robert Zemeckis’ Here arrives with an ambitious framing device: an entire story told through one static camera placement. Through this fixed position we witnes...
Paul Schrader’s Oh, Canada premiered at Cannes this past spring, and although the subject matter, surrounding a dying filmmaker grappling with his own mortalit...
Coralie Fargeat’s Revenge (2017) thrilled audiences with its never-ending finale chase sequence through hallways lubricated in Shining-level quantities of bloo...
The twisty political thriller Conclave wastes little time getting right into it: the Pope is dead, and after a three-week time jump, the world’s most powerful ...
Chatting with the head of a prominent documentary-production company recently, I asked if hybrid filmmaking had reached its natural limit. Could it conceivably...
Over a close-up of a turtle, ominous sound design builds at such a deep frequency that the walls of a press-screening room in Beverly Hills began rattling. Onc...
Eight years after My Life as a Zucchini premiered in Directors' Fortnight en route to winning two Césars (and nabbing one Oscar nomination), Swiss director Cla...
Argentine master Lisandro Alonso teased his next feature at Space Not Time, a Los Angeles retrospective of his work. Speaking after a 35mm screening of the 200...
Luca Guadagnino’s Challengers opens in an intentionally disorienting manner: We are in New Rochelle, New York for a tennis challenger. Wearing cheap shorts tha...
