“Between 1969 and 1977, Elvis played 1,100 shows, sometimes 3 times a day.”
The postscript of Baz Luhrmann’s EPiC: Elvis Presley in Concert—the extravag...
Note: This review was originally published as part of our 2025 Berlinale coverage. The film opens in theaters on February 27.
The last time Hong Sangsoo...
Note: This review was originally published as part of our 2025 Berlinale coverage. The film opens in theaters on February 27.
Some images have become me...
No one moves abroad in Ted Fendt’s Foreign Travel; people walk plenty—mostly around Kreuzberg, Berlin—but the kind of wandering this erudite film is concer...
Sooner or later, conversations around the ever-growing oeuvre of Hong Sangsoo all land on the same word: repetition. That's kind of inevitable: few could e...
If period filmmaking's credibility can be measured by the audience's ability to imagine said person scrolling on an iPhone, Markus Schleinzer deserves reco...
Last week, the jury president of the Berlin Film Festival claimed that this year’s edition would provide an “opposite” to politics. If such a thing exists,...
To belong to the diaspora is to inhabit a paradox: a state of in-betweenness, neither fully inside or outside one’s home and adoptive countries. Films tryi...
It’s rare for a film as good as First Light to slip through the cracks of the major festivals. This debut feature from Filipino-Australian director James J...
Spoiler culture may be one of the lowest forms of film conversation, but there are times when it simply must be invoked. This is to say that Nirvanna the B...
