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...
Nickel Boys, RaMell Ross' narrative feature debut, is the story of a stubborn world, resisting change. Adapted from Colson Whitehead's The Nickel Boys, it's an...
Independent filmmaking duo Scott McGehee and David Siegel's The Friend, their newest in a 30-year collaboration, is a dog movie. Or, more aptly, it’s a film ab...
When J. Hoberman placed game 6 of the 1986 World Series on his Village Voice year-end list, we had one of the first, most convincing attempts to enshrine live ...
New York City can swallow you whole. It can be an uncaring place with busied people walking down frustrated avenues. It's not that the city is mean or that the...
Huang Xi’s Daughter’s Daughter is, as the title suggests, a generational drama, but one that encompasses four generations of women rather than just two. In fac...
“What if woody Allen had brain injury,” remarks the comic Adam Friedland in his rather direct Letterboxd review of Jerry Lewis’ The Ladies Man. Continuing a t...
