If a James Bond or Mission: Impossible film excised all its action scenes––save a stray explosion or gunshot––while employing a script with a pop John le C...
“The world is a vampire” –– Billy Corgan, 1995
Before jumping directly into the action, Paul W.S. Anderson's In the Lost Lands opens with a framing de...
Amongst the debut features populating Berlinale’s new section called Perspectives, none presented so admirably fresh take on fiction and political historie...
The last time Hong Sangsoo failed to feature in a Berlinale program, Childish Gambino’s “This is America” was in the charts and Green Book was on its way t...
Consider the logline: a 34-year-old, pre-diabetic, 250-pound, extremely anxious loner finds respite as a cleaning simp for dominatrices eager to belittle h...
There was Dewey Finn, Ned Schneebly, Willoughby, Mason Evans Sr.––now there’s Lorenz (or Larry) Hart. Richard Linklater likes a certain type of guy, and ma...
When reading Claude Lanzmann’s 2009 memoir The Patagonian Hare, director Guillaume Ribot was struck by insights into making the monumental Shoah. The book ...
“The id grows tedious,” art critic Jackson Arn wrote recently, “when left to speak too freely.” The Romanian filmmaker Radu Jude keeps his in check by grou...
Positive or not, all critical appraisals of Hélène Cattet and Bruno Forzani’s films inevitably land on the same talking point: their inordinate cinephilia....
If there is a filmmaker whose work can be described as "elemental cinema," that’s Lucile Hadžihalilović. It’s easy to chronicle her 2015 film Evolution as ...
