Lav Diaz’s Golden Lion winner from this year's Venice Film Festival feels like something of a surprise because, for all its extended shots, luminous black-and-w...
Many lament the “meme-ification” of Werner Herzog, a name once synonymous with masculinist, bravura filmmaking that risked the lives of cast and crew for the sa...
Angela Schanelec’s The Dreamed Path is so beguiling that we, the audience, have to take comfort in pointing out its one clear structural point: it's split into ...
With the overwhelming presence of ideology on contemporary film criticism (this writer will admit that the majority of his festival coverage last year likely me...
In his heyday, Walter Hill made films of a thirty-year-or-so dissonance, everything he made in the '80s owing itself to the '50s, be it Robert Aldrich-Burt Lanc...
Perhaps just another narrative about a millennial finding their calling, Apprentice zeroes in on Aiman (Fir Rahman), a man in his late '20s still living with hi...
For a way in, maybe we can detect that Zoology writer-director Ivan I. Tverdovsky is a fan of sad-boy rock star Morrissey, because the first ten to fifteen minu...
A fair question to ask: why The Sun King now? Perhaps American icons are always ripe for deconstruction as, after all, we have the world’s greatest (or rather d...
