In his Village Voice review of Jim Jarmusch’s criminally under-appreciated The Limits of Control, J. Hoberman described the director as “a full-blown talent er...
Pablo Larraín is not finished wrestling with his nation’s psyche. His first three films, Tony Manero, Post Mortem, and No, formed a loose triptych that confront...
Ruth Negga and Joel Edgerton deliver remarkably nuanced performances in Loving, a late-'50s- / early-‘60s-set true life story of a mixed-race couple whose illeg...
In the past, the Belgian director Joachim Lafosse made a film about a mother seeking escape from domestic hell by killing her four young children (Our Children)...
Maren Ade has kept us waiting. It’s been seven years since her superb second feature Everyone Else premiered at the Berlinale, taking home the Jury Prize, and s...
We haven’t even reached the midway point of this year’s Cannes Film Festival, but it’s probably safe to assume that Nicole Garcia’s From the Land of the Moon wi...
European directors have often faltered when crossing the Atlantic. Billy Wilder and Wim Wenders found things to say where Paolo Sorrentino could not. American H...
CGI loses the day in Steven Spielberg’s The BFG, a partly motion-captured, eco-minded adaptation of Roald Dahl’s adored children’s book that leans so heavily on...
Park Chan-wook has often iterated his conviction that vengeance is a topic ripe for infinite cinematic treatments. Following the conclusion of his trilogy dedic...
Premiering in the Un Certain Regard section of this year’s Cannes Film Festival, The Dancer is an impassioned if formally conservative portrait of Loïe Fuller (...
