The best directorial debut of the year, India Donaldson's Good One, is a carefully-observed portrait of both womanhood and fatherhood, capturing the 17-year-ol...
It wouldn’t have been Sundance without at least a handful of coming-of-age stories. Sean Wang’s audience award winner Dìdi (弟弟) proves that, with a n...
Is there a single more enigmatic director than John Ford? After many biographies, documentaries, and over half a century without the director’s presence on thi...
From statues that weep blood to dancing suns that lead to sudden darkness in the middle of the day, the Catholic faith overflows with accounts of miracles. But...
At a lakeside cottage, Allen Sunshine (Vincent Leclerc) keeps to himself. He goes out on his boat, walks his dog, and wanders the surrounding forest with a tap...
New York audiences might be the luckiest cinephiles this summer: French legend Catherine Breillat’s newest gem of a film Last Summer not only opens theatricall...
It’s rare for a festival like the Berlinale to allow a genre film in its main competition, and this year it was Veronika Franz and Severin Fiala’s third featur...
Angela Schanelec’s cinema is one of details. It has not always been that way, though, or at least not so apparently; her early films, formally rigorous, with s...
It’s of course essential that the actor-auteur relationship has some bedrock of trust, and the last descriptor one could apply to Julianne Nicholson is “amateu...
Ten minutes speaking to two subjects with whom you could easily spend an hour each is somewhat like fighting with one arm behind your back. But having intervie...
