Where’s the filth? I wrote down the question on page two of my notes, roughly about when Queer entered its second chapter, sending Lee (Daniel Craig) and his y...
Killers of the Flower Moon's epilogue felt like the last word on true crime: a director with several based-on-a-true-story tales to his name emerging from behi...
It’s fall 1983 in the Pacific Northwest, a historical hotbed for white poverty and white-power mobilization. Flannels flow like wine, backcountry bowl cut-adja...
In life and in cinema, Pedro Almodóvar likes to talk about death. When people aren't losing their faculties in his films––like going blind (Folle... folle... f...
The Motorcycle Diaries director Walter Salles developed I’m Still Here for seven years before it premiered as part of Venice's Main Competition this year. That...
It’s been nine years since Jon Watts made a feature film that wasn’t about Spider-Man––long enough that for the past three years his MCU entries have outnumber...
When The Childhood of a Leader premiered at the 2015 Venice Film Festival, you had to wonder where Brady Corbet could possibly go next. There was just somethin...
Boosted by Locarno-awarded debut Instinct, Dutch actor-director Halina Reijn fit nicely in the A24 canon with her satirical thriller Bodies Bodies Bodies. Yet ...
After the detour of El Conde, Pablo Larraín returns with a study of opera singer Maria Callas, thus closing out a triptych of films on glamorous women, gilded ...
What if Jacques Tati made a film noir? The Falling Star offers a commendable answer to this question, though the final result does not quite live up to such ex...
