Vietnamese director Pham Thien An’s debut feature Inside the Yellow Cocoon Shell juxtaposes moments of great importance with the moment-by-moment sta...
A film over a decade in the making, Felipe Gálvez's directorial debut The Settlers takes a formally thrilling look at the brutal genocide of the now-extinct Se...
I could ask whether or not the world needs another movie podcast but it might be a bad start posing questions to which we both know the answer. Still, Movie Mi...
John Wick: Chapter 4 is a masterclass in action cinema. Despite being nearly three hours long, the action extravaganza maintains momentum by letting the audien...
At the tail end of my interview with American Fiction director Cord Jefferson, I asked him a brief question about finding the right tone for the ending of this...
In English filmmaker Andrew Haigh’s All of Us Strangers, grief is overwhelming. Emotions run deep, relationships ebb within the span of a scene, and loneliness...
How do you embody pure evil? While the discussion swirls regarding precisely how much Jonathan Glazer's The Zone of Interest is meant to humanize the Nazis, by...
How do you make rowing look interesting? That's one of the challenges George Clooney faced with The Boys in the Boat, the new film based on the Daniel James Br...
Seeing Anthony Dod Mantle's name on EnergaCAMERIMAGE's guest list, I had some instinct we should talk. Few cinematographers in my (or yours or anyone's) lifeti...
Safe saying no Holocaust film's ever looked or moved like The Zone of Interest, whose visual scheme are so odd, so resistant to expectation or desire, that it ...
