After the riot-induced death of her policeman husband in the badlands of North India, 30-something widow Santosh Saini (Shahana Goswami) is told she has nothin...
Remakes, reboots, and sequels are all the rage in Hollywood these days. Studios hand them out like candy to proven and unproven talent alike, but very few dire...
Fifty years after his screenwriting debut via Sydney Pollack’s The Yakuza and a mere forty-six since his directorial debut with Blue Collar, Paul Schrader is s...
“Are people born wicked? Or do they have wickedness thrust upon them?” The conundrum of theodicy has long plagued humanity, just as it’s plagued the Ozians of ...
In a mere two features, writer-director Payal Kapadia has emerged as one of India’s, if not the world’s, most significant filmmakers. Partly because of her rem...
“The world you’re about to see no longer exists. None of us knew what was about to happen.”
Writer-director Julia Loktev––whose 13-year hiatus from fi...
Five years, the closest presidential election in Brazilian history, and one insurrection after her last examination of Brazil’s tumultuous socio-political sphe...
“Leave the light on. It’s easier for me to dream.”
The opening shot of Việt and Nam, writer-director Trương Minh Quý’s sophomore film, is a feat of cinemati...
Asif Kapadia––the biographical documentary wiz behind contemporary classics like Senna and Amy––opens his semi-fictional film 2073 in a flurry of doc footage. ...
In a twist for the ages, the greatest joke of Todd Phillips’ Joker sequel––which contains far fewer punchlines than the first, regardless of how they land––is ...
A New York City film journalist by way of Austin, TX, Luke is an arts enthusiast who earned his master’s studying film philosophy and ethics at Duke. He thinks every occasion should include one of the following: coffee, whiskey, tea, gin, beer, or olives.
