Almost ten years to the day since The Neon Demon’s premiere, Nicolas Winding Refn returns to Cannes with Her Private Hell—a film wherein the internet’s it girl...
A soft upright piano playing “Amazing Grace” drapes in warmly over the opening image of Fjord: a powder-blue-hued glacial mountain towering over the gliste...
Garance (Adèle Exarchopoulos) is her name, and she’s proud of it: of being a feminist, a liberated woman, of having caring friends, loving family, and the most...
One of the most pernicious tendencies in the way we talk about cinema is to reduce films to quantifiable objects—things that can be assessed in terms of ho...
In Ben’Imana, the perpetrators of a genocide are being put on public trial, but it just as often feels like the families of their victims are being forced ...
A (lonely) man meets a (beautiful) woman who would go on to change his life––a tale as old as time. Transformations, physical or psychological, are part and pa...
James Gray had left the comfort zone of the native New York he chronicled over the first two decades of his career, sending Charlie Hunnam, Robert Pattinso...
It’s never night in Hope Harbor. At least so long as we’re there. The eschatological events of writer-director Na Hong-Jin’s high-octane, highly anticipated Ho...
There is a certain pantheon of talented film directors, like Guido Anselmi and Ferrand, whose names barely ring a bell. Yet you know 8½ and Day for Night––...
There’s a spot on the windswept island around which Dominga Sotomayor’s La Perra unfolds where gas bubbles up from the sea. A pipeline has burst by the shore, ...
