Note: This review was originally published as part of our 2024 NYFF coverage. Apocalypse in the Tropics is now in theaters and on Netflix.
Five years, t...
Michael Angelo Covino and Kyle Marvin know no sophomore slump. The best-friend filmmakers––who met acting opposite each other in a commercial 15 years ago ...
Tel Aviv native, defector, and auteur Nadav Lapid opens his fifth feature in a catastrophic state of carouse. A filmmaker known for his employment of trade...
Note: This review was originally published as part of our 2025 Cannes coverage. Ghost Trail opens in theaters on May 30.
We begin with music that's uncharac...
Over a delicately structured, Mike Mills-ian montage of Nora Berg’s (Renate Reinsve) personal heritage––30-odd years of an Oslo native’s existence relayed ...
It’s strange to hear backwood Appalachian fiddle folk in a French theater at the hand of a South African director portraying the queer, song-collecting lives o...
Spike Lee’s joints are known for their sweeping coverage of New York City, in particular Brooklyn, and even more specifically Bed-Stuy––hardly ever the luxurio...
Julia Ducournau has turned 180 degrees since Titane, the gritty and bizarre thriller that Spike Lee's Cannes jury awarded the Palme d'Or in 2021. There's no do...
Christian Petzold’s fifteenth feature Mirrors No. 3 marks his fourth with Paula Beer, the actor-muse he first directed in 2018’s Transit, a film that shares si...
Shot on black-and-white film with the same Cameflex model used by Jean-Luc Godard for Breathless––the film it portrays and embodies the making of––Nouvelle Vag...
Luke Hicks is a New York City filmmaker, film journalist, and musician by way of Austin, TX. He earned his Master’s studying film philosophy, theology, and ethics at Duke University and is the founder of the Brooklyn-based Art Mob Productions.
