On the basis of the following interview, if you’re going to speak to a director, perhaps ask for the lead editor to join them. Fitting for a film largely about...
Note: This review was originally published as part of our 2024 Venice coverage. Pavements opens in theaters on May 2.
If the Hollywood superhero-industr...
In You Burn Me, the Argentinian littérateur-filmmaker Matías Piñeiro uses his vintage Bolex camera like the iOS Notes app. Shooting over the course of a few ye...
There was Dewey Finn, Ned Schneebly, Willoughby, Mason Evans Sr.––now there’s Lorenz (or Larry) Hart. Richard Linklater likes a certain type of guy, and ma...
In Videoheaven, Blockbuster––to take after Thom Andersen––plays itself. Now deep in a pop-cultural-scholarship phase inaugurated by his last feature Paveme...
The Ballad of Suzanne Césaire, the feature debut from artist and filmmaker Madeleine Hunt-Ehrlich, aims to foreground its primary literary material and histori...
When J. Hoberman placed game 6 of the 1986 World Series on his Village Voice year-end list, we had one of the first, most convincing attempts to enshrine live ...
“What if woody Allen had brain injury,” remarks the comic Adam Friedland in his rather direct Letterboxd review of Jerry Lewis’ The Ladies Man. Continuing a t...
Here’s a film that asks, in the vein of another's title: did you wonder who fired the gun? Yet in Mohammad Rasoulof’s The Seed of the Sacred Fig, which is set ...
The death of the author is the birth of the reader, as we know from post-structuralist thought; then again, there are Hong Sangsoo’s public remarks. A charming...
David Katz has been a freelance film journalist for over a decade. Born in Columbus, Ohio and raised in London, he primarily writes for the trade publication Cineuropa, but also loves popping up at The Film Stage from time to time.
