Thirty or so minutes into Angela Schanelec’s Music, a character makes a startling discovery. We’re inside a prison on the outskirts of an unidentified Greek to...
The Aztec story of creation is one of birth through destruction; of life existing because death occurred. According to their myths, in the beginning, the god Ō...
Just to get it out of the way: the first Creed is the best Rocky film. They share the same formula, a foundation no doubt solidified by the ‘70s sports classic...
The singular styles of filmmakers in the Woche der Kritik (aka Berlin Critics' Week) often result in some of the year's most under-appreciated and formally exc...
For anyone keeping tabs on Bas Devos' career, it's notable that the drama of his latest film Here is set in motion by something as benign as a pot of soup. A c...
In Manodrome, cinema's enduring love for frustrated male loners is brought, kicking and screaming, into the cold light of the present day. Set in an unnamed, c...
There is a casual vibe to The Forger, written and directed by Maggie Peren, that reflects its hero's stubborn optimism in the face of very real danger. This in...
Purchasing and shooting on celluloid film, especially in this age of closing processing labs, is expensive for large and smaller productions alike: the documen...
Guy Ritchie’s trajectory from distinctive pop-auteur to journeyman director-for-hire has been fascinating to witness. Making his name in the late 'nineties'90s...
The most visceral films are often described as sensory experiences. But how can a visual medium translate the sensations of smell without the aid of a John Wat...
