Hunter Schafer is a very good actress. This probably won't be news to anyone who watched even the first episode of Euphoria, where her aching vulnerability see...
Golden Years, written by Petra Volpe and directed by Barbara Kulcsar, is an incredibly simple, comfortable piece of work. It concerns the plight of a long-marr...
The kind of movie made to stumble upon surfing cable at 2 am in a half-awake, half-intoxicated stupor, Ethan Coen’s Drive-Away Dolls aims for a lower artistic ...
The best bit of dialogue from any iteration of Dune was not written by Frank Herbert, but it so perfectly distilled the absurd wonder of his magnum opus that y...
Two things can be true at once. The old debate over whether Hong Sangsoo's cinema is overly earnest or self-aware was always a bit reductive––when the most lig...
The films of Canadian director Kazik Radwanski are freedom in its purest form, or the purest this particular medium can contain. Being the opposite of prescrip...
Playing his signature brand of rural French absurdity in stark counterpoint to the grandiose strains of a space opera, Bruno Dumont returns with The Empire: hi...
It’s safe to call Canadian artist and filmmaker Bruce LaBruce a Panorama mainstay; it’s been two decades and counting since Hustler White premiered in this Ber...
Some years ago, an uncle of mine traveled to Palestine with a group of volunteers. It was a time of fewer videophones, certainly in the region, and the organis...
Egos are charred and tempers seared in La Cocina, a kitchen nightmare set in the engine rooms of a vast Times Square eatery where the staff have more pressing ...
