It should go without saying that, regardless of genre, period, or just about any other contributing factor, any new release from Jia Zhangke is something with w...
"I have love in me the likes of which you can scarcely imagine and rage the likes of which you would not believe. If I cannot satisfy the one, I will indulge th...
So, what to make of this Le Livre d’Image? Hmm. Speaking at the ISM in Berlin recently, Brian Eno (that granddaddy of sonic soups) pondered why we sometimes get...
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...
