“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 ...
At last year's Venice Film Festival, Harmony Korine took a wild left-turn with Aggro Dr1ft, the first feature from his new production company EDGLRD. The myste...
It’s fall 1983 in the Pacific Northwest, a historical hotbed for white poverty and white-power mobilization. Flannels flow like wine, backcountry bowl cut-adja...
It’s been nine years since Jon Watts made a feature film that wasn’t about Spider-Man––long enough that for the past three years his MCU entries have outnumber...
When we say a filmmaker is in another league, we typically mean it in a good way––they’re a cut above the rest. But when we say it about Guy Maddin, it doesn’t...
“Everyone has at least one person in Mumbai.” “There’s work and money in Mumbai. Who would want to go back?” “You better get used to the impermanence.” Like po...
Coralie Fargeat made a splash with her debut Revenge. But she was only standing in a puddle, endearing niche corners of the global cinephile community to her c...
Up to this point, Mikey Madison––the fearless, explosive 27-year-old lead of Sean Baker’s Anora––is best-known for her chilling turn as the deranged killer in ...
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.
