Somewhere in a tower block, a Korean woman (Shim Eun-kyung) sits at a table in front of a blank piece of paper and pauses to think. After a moment, she begins ...
Short though we may be on novel ways to make movies, Pete Ohs has perhaps cracked something new. Seeing each film he makes as a "table of bubbles"—a beautiful,...
Full disclosure: Blue Heron goes such lengths proving itself one of 2026’s greatest films (plus 2025’s, if we wish to be sticklers about premiere dates) that a...
Watching David Lowery’s Mother Mary made me think, in some unexpected way, of a scene early in Todd Field’s Tár, in which Lydia Tár dresses down a Juilliard st...
Among the true faithful, Serpent's Path is no new object from Kiyoshi Kurosawa. But despite standing among his greatest films, it's stayed in a much greater ob...
Isabelle Huppert's performance in Ulrike Ottinger’s The Blood Countess, a vampire fantasia set in Vienna (and co-starring no less of a local icon than Conchita...
Nearly 30 years into his feature filmmaking career, French writer-director François Ozon has done it all: screwball comedies, murder mystery musicals, erotic d...
It's a scenario that, under certain fascistic goverments, may not seem so far away: in order to increase economic output, the elders of society are mandated to...
For fifteen years now, Israeli writer-director Nadav Lapid has thoughtfully crafted blistering and incisive films about the incompetency, hypocrisy, criminalit...
"The idea of the young Pagnol visiting the older Pagnol is nowhere to be found in his books," director Sylvain Chomet tells me when it comes to A Magificent L...
