We can assume that Christophe Honoré’s 10th big-screen feature as director might trigger some viewers’ short-term memories -- and perhaps apprehension, too. Con...
It's been a week of grief and mourning for Helen (Lyndsy Fonseca) after finding her husband Wells (Noah Bean) dead by suicide at their secluded cabin. She's dea...
In the 2015 omnibus film Ten Years, five Hong Kong filmmakers offered visions of what their country might look like in 2025. Dystopian and fiercely critical of ...
What a deft, lean storyteller this Paweł Pawlikowski has become. The five-year gap between his latest film, teasingly titled Cold War and given a berth in compe...
If it can, should a film lay its foundation on intertextuality? The question being: can you believe two people are in love because you are told, not because you...
Disregarding the vomitus of clichés with which Asghar Farhadi introduces the rural Spanish milieu of Everybody Knows, for the first half-hour or so, the Iranian...
The coming of age dramedy is a crowded genre with many seminal works established in the 70s and 80s. It's tough to therefore see any entries without comparing t...
The front half of Coralie Fargeat's debut feature Revenge provides audiences the sort of sensory overload that hits like a sledgehammer. You might not think thi...
When the seemingly interminable (ahem) Terminal draws to close, it is hard to fight the feeling that there might not be a bigger cinematic misstep this year. An...
The narrative directorial debut of film scholar, curator, and documentary filmmaker Kent Jones elicits an awful lot of anticipation. Often, first features conta...
