Laura Poitras’ greatest strength as a documentarian is winning the trust of high-profile individuals and getting them to appear in front of her camera. In her r...
There is a moment in Sean Penn’s new film -- for some reason screening this week in competition in Cannes -- when, having navigated the safe passage of a group ...
The problem in trying to critically assess Nicolas Winding Refn’s putrid atrocity of a film The Neon Demon is that regardless how much outrage is thrown at it, ...
If there is one blemish in Jim Jarmusch’s exceptional filmography, it’s his first foray into documentary: 1997’s little-seen Year of the Horse, a surprisingly i...
It's often said that no writer can craft a character as complex and compelling as the subjects in some of our best documentaries. Enter the consummate example: ...
Motion, love for the Gaia, and lush orchestral music provide the backbone of Michaël Dudok de Wit’s The Red Turtle, a dialogue-free, feature-length animation ab...
In the director’s statement included in the press notes to It’s Only the End of the World, Xavier Dolan says he considers his sixth feature to be his “first as ...
Originally released during a wave of enjoyable-but-disposable raunchy comedies, the first Neighbors was a trojan horse. Underneath a gleeful prank war arms rac...
Kim Nguyen’s Two Lovers and a Bear is a film that suffers from a bit of an identity crisis. Like an indie playlist stuck on constant shuffle, unapologetically r...
Not a huge amount happens in Ma’ Rosa, the relentless new film from Filipino director Brillante Mendoza, which premieres this week in competition at Cannes. In ...
