Kyle Pletcher

NYFF Review: Heinz Emigholz Humorously Explores the Past, Present, and Future in The Last City & The Lobby

Canadian novelist and playwright Robertson Davies once compared the continuity of a reader’s relationship to literature to that of architecture transforming in...

NYFF Review: ‘Martin Eden’ Marks an Astonishing Step for Pietro Marcello

American novelist Jack London was an active proponent of socialism, his writing offering self-reflexive deconstructions of their values within distinct, incongr...

NYFF Review: ‘Oh Mercy!’ is a Ponderous Police Procedural from Arnaud Desplechin

When a filmmaker is well-known for reiterating certain narratives or themes, perhaps even having a specific character reappear to embody such ideas, unfamiliar ...

NYFF Review: Young Ahmed is a Compassionate, Yet Surface-Level Misstep for the Dardennes

Fitting their preoccupations with contemporary Europe’s working class, the latest from Belgian’s preeminent filmmaking duo, Jean-Pierre and Luc Dardenne, seeks ...

NYFF Review: In ‘The Times of Bill Cunningham,’ a Legendary Photographer’s Work Speaks for Itself

A number of great artists found their start in fashion photography, the glamor and fastidiousness of the industry attracting all sorts of imagistic visionaries....

NYFF Review: ‘Her Smell’ Captures a Downward Spiral with Intoxicating Lucidity

Distinct from musicals, music biopics, and documentaries, fiction films about the challenges faced by musicians in practicing their craft have been around since...

Venice Review: ‘As I Lay Dying’ Lethargically Transposes the Faulkner Classic to Contemporary Iran

In William Faulkner’s elegiac southern gothic tale As I Lay Dying there’s an oft-cited passage that resonates with the novel’s core theme of radical subjectivit...

Jean-Luc Godard’s Bewitchingly Self-Reflexive Midlife Crisis

Emerging from his politically radical period of low-budget, didactic political commentaries with revolutionary overtones, produced primarily on 16mm or tape for television broadcast, prolific French avant-garde iconoclast Jean-Luc Godard unexpectedly returned to commercial filmmaking....

NYFF Review: ‘Dragonfly Eyes’ Captures the Malleability of Postmodern Identity

The modern pervasiveness of surveillance technology causes an unfamiliar type of cognitive dissonance where their use is collectively recognized but an innate f...

NYFF Review: ‘Occidental’ Recalls Tati and Leaves Little Positive Impression

French-Algerian visual artist and filmmaker Neïl Beloufa’s second feature, Occidental, opens in media res as its eponymous setting, the tawdry Hotel Occidental,...

News

Léa Seydoux and Tony Leung to Lead Ildikó Enyedi’s Silent Friend

Watch: A 17-Year-Old Orson Welles Directs Shakespeare in Never-Before-Released Footage of His 1933 Production

Exclusive: Terrence Malick’s Biblical Epic The Way of the Wind Aims for 2025 Premiere as First Story Details Arrive

Trailers

First Teaser for Yorgos Lanthimos’ Kinds of Kindness Brings Together Emma Stone, Willem Dafoe, Margaret Qualley, Jesse Plemons & More

John Early Feels Trapped in First Trailer for Stress Positions

Ryusuke Hamaguchi Returns with U.S. Trailer for Evil Does Not Exist

Reviews

SXSW Review: Secret Mall Apartment Finds Artists Making a Home in the Belly of the Gentrification Beast

Mothers’ Instinct Review: Anne Hathaway and Jessica Chastain Lead Sincere, Stylish Melodrama

SXSW Review: Dead Mail Provides a New Twist on the Slasher Flick

Features

NYC Weekend Watch: Med Hondo, Wojciech Has, 1974, He Got Game & More

New to Streaming: Inside the Yellow Cocoon Shell, Road House, Anselm, Dad & Step-Dad & More

The Best Movies Now Playing in Theaters

Interviews

MoviePass Founder Stacy Spikes on Sustainably Relaunching and Why Moviegoing Will Never Die

“Everybody Knows Something is Wrong”: Free Time Director Ryan Martin Brown on Finding Comedy in the Great Resignation

Riddle of Fire Director Weston Razooli on Zelda, Miyazaki, and Learning From Bad Movies

Podcasts

The Film Stage Show Ep. 532 – The Zone of Interest (with Natalia Winkelman)

The B-Side – Don Cheadle (with Mitchell Beaupre)

The B-Side – 2024 Oscars Special (with Joe Reid & Chris Feil)

Kyle Pletcher

NYFF Review: Heinz Emigholz Humorously Explores the Past, Present, and Future in The Last City & The Lobby

NYFF Review: ‘Martin Eden’ Marks an Astonishing Step for Pietro Marcello

NYFF Review: ‘Oh Mercy!’ is a Ponderous Police Procedural from Arnaud Desplechin

NYFF Review: Young Ahmed is a Compassionate, Yet Surface-Level Misstep for the Dardennes

NYFF Review: In ‘The Times of Bill Cunningham,’ a Legendary Photographer’s Work Speaks for Itself

NYFF Review: ‘Her Smell’ Captures a Downward Spiral with Intoxicating Lucidity

Venice Review: ‘As I Lay Dying’ Lethargically Transposes the Faulkner Classic to Contemporary Iran

Jean-Luc Godard’s Bewitchingly Self-Reflexive Midlife Crisis

NYFF Review: ‘Dragonfly Eyes’ Captures the Malleability of Postmodern Identity

NYFF Review: ‘Occidental’ Recalls Tati and Leaves Little Positive Impression

Kyle Pletcher