It is possible that one day an excellent narrative feature in the vein of The Big Short, BlackBerry, Dumb Money or Margin Call will be made about MoviePass, a ...
It's hard knowing what to make of Kevin Macdonald's High & Low: John Galliano. It concerns the controversial fashion designer, his unexpected rise ("the so...
Let's start here: the production design in Tom Gustafson's Glitter & Doom is impeccable, colorful, and memorable. Too often these days films lack an advent...
Chile went through political turmoil in the 1970s when Augusto Pinochet became their president. With the Pinochet regime already in power and ending civilian r...
The new film from Johan Renck, efficiently titled Spaceman, offers two central conceits. The first: that a vessel en route to a cloud of purple dust, somewhere...
Early Modern times were messy: Europe was finding its footing in rationalism, seeking independence from the centuries-long spiritual yoke of Catholicism and Pr...
How can you make a film about the fall of Yugoslavia? This is the question American documentarian Travis Wilkerson asks himself at the start of Through the Gra...
You’d expect the pivotal music cue in Philippe Lesage’s Who by Fire to be its namesake by Leonard Cohen, a beautiful and plaintive prayer of a song. But instea...
In 1953, Alain Resnais, Chris Marker, and Ghislain Cloquet produced Statues Also Die, one of the fiercest and most lucid indictments of white imperialism ever ...
We don’t step evenly into Sons. Over the stretch of a long, grim elevator ride––face-to-face with Eva (Sidse Babett Knudsen), a middle-aged woman working as a ...
