After using his string of HAIM music videos as tests for Licorice Pizza––camera technology, but also of course collaborating with Alana Haim––it's no surprise ...
Ryusuke Hamaguchi, the Japanese writer-director behind 2021’s epic drama Drive My Car, is something of a renegade: his breakout feature, 2015’s Happy Hour, abo...
As of late the work of prolific French director Philippe Garrel has gone a bit unappreciated here in the States, the perceived notion being that he keeps recyc...
Our first look at new books on filmmaking in 2022 must start with a mention of what is sure to be the most noteworthy cinema-related text in the first quarter ...
There is a small but growing belief among critics that just as Hong Sangsoo inches toward legendary status (festival omnipresence; evangelized by Richard Brody...
Modernization and traditional living collide to strong political effect in Mattie Do’s third feature film The Long Walk. Its first few images see both an unide...
Coming off of one of his best films this century this far, his new take on West Side Story, Steven Spielberg's next film is already in the can, The Fablemans, ...
It's a good time for Tsai Ming-liang fans. Not long after his latest masterpiece, Days, opened to the widest acclaim he's ever received and Goodbye, Dragon Inn...
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week's selections below and past r...
Welcome, one and all, to the latest episode of The Film Stage Show! Today, Brian Roan, Robyn Bahr, and Bill Graham discuss Maggie Gyllenhaal's directorial debu...