This monthly column focuses on the film industry’s willingness to capitalize on this truth, releasing one-sheets to serve as not representations of what audiences are to expect, but as propaganda to fill seats....
The world is terrible, and full of monsters. So says the core of solid dread within John Krasinski’s A Quiet Place. Informed by more than just his multi-hyphena...
Lauren Greenfield’s The Queen of Versailles was the perfect and perhaps too prescient portrait of a specific slice of the 1%, and now for her next documenta...
Joining the small but no less inventive subgenre of one-location thrillers, The Guilty provides a worthy refute to the idea that a bigger budget always corr...
A few minutes into Helena Wittmann’s Drift, two young ladies sit at a bar and recount an old myth from Papua New Guinea. It’s an anecdote of the world’s creatio...
In 2004, directors Xuan Liang and Chun Zhang created a Flash animation for an online contest. From there they expanded it into a feature length film steeped in ...
We'll believe it's officially real when we're sitting in the theater taking it in, but the best proof yet that Terry Gilliam has actually finished his oft-c...
For the first time since 2004–when Pedro Almodóvar's Bad Education opened the festival–a film not in French or English will kick off Cannes Film Festival. I...
One of 2018's first notable debuts, Ava concerns a young girl's coming-of-age via rebellion -- a not-unfamiliar idea that writer-director Sadaf Foroughi mak...
