In Modena, everyone is losing––the football club, the women, the Ferraris. It’s the spring of 1957, and ex-racer-turned-entrepreneur Enzo Ferrari (Adam Driver)...
Bella Baxter––whose organic internal makeup I’ll leave to shocking reveal––was born an adult woman. The furiously beating heart of Yorgos Lanthimos’s new film,...
Wim Wenders is back, and he’s brought Lou Reed (still dead) with him. It’s not that Wenders hasn’t been making films. He has. It’s just that the only good ones...
For his last trick, at the 2022 Cannes Film Festival, Italian maestro Marco Bellocchio turned the 1978 Red Brigade kidnapping and assassination of Prime Minist...
Wes Anderson has done it all: India by train, Rhode Island by foot, the Mediterranean by sub, France by bike, faux-Germany by hotel, apple-orchard America by f...
On the heels of his premiere, nine hours after Netflix bought his newest film for $11 million, Todd Haynes is a happy man, seated casually at breakfast in the ...
It would be one thing for someone to have their life portrayed onscreen by an A-list actor, and another to invite that actor into their home for accuracy, to m...
Wolves are not subtle creatures. It’s a rhetorical question: “Can you find the wolves in this picture?” Who couldn’t spot wolves among humans? They’re much sma...
Few stories are as gratifying as the narrative jigsaw. How to fool the viewer into believing one thing without lying about what happened? It’s difficult enough...
New approaches to cinema are few and far between––as rare as a ticket to the lone Killers of the Flower Moon press screening at the 76th Cannes Film Festival––...
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.
