Five years, the closest presidential election in Brazilian history, and one insurrection after her last examination of Brazil’s tumultuous socio-political sphe...
Timothy and Stephen Quay have developed an entirely unique style in the world of stop-motion animation: vigorously kinetic yet meticulously controlled; balleti...
Robert Minervini’s The Damned begins with two wolves tearing into a elk carcass, ripping off its fur and chewing its intestines. This isn’t a nature ...
It takes confidence to name your film––simply and so very unspecifically––Love. Michael Haneke could get away with it for giving us the classic that is Amour. ...
Romanian filmmaker Andrei Ujică’s TWST / Things We Said Today exists in the world of Beatlemania. It uses archival footage from the lead-up to the Beatles conc...
Jane Schoenbrun didn’t invent movies exploring teenage malaise and identity through the lens of pop culture, but in the opening moments of Caroline Poggi and J...
Many films have dared to ask if a man and a woman can ever just be friends, but very few have managed to answer in the affirmative. For most of its first half,...
Steve McQueen has long been upfront about his desire to make a musical; before Widows underwhelmed at the box office, it appeared likely that a passion project...
The Ballad of Suzanne Césaire, the feature debut from artist and filmmaker Madeleine Hunt-Ehrlich, aims to foreground its primary literary material and histori...
“Leave the light on. It’s easier for me to dream.”
The opening shot of Việt and Nam, writer-director Trương Minh Quý’s sophomore film, is a feat of cinemati...
