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...
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 ...
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...
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.
