Philippe Garrel’s modus operandi since 2013’s Jealousy has been unfussy, melancholic, black-and-white tales of Parisian men in the throes of romance, typically...
Capturing the rhythms of life on a rural Humble County, California commune in a changing cultural landscape, Kate McLean and Mario Furloni’s beautifully crafte...
Set in a time before Uber, smartphones, and mass social networking, Brandon LaGanke and John Carlucci’s Drunk Bus is a nostalgic look at college life in small-...
After a steadfast commitment to soldier ahead, the 2020 Cannes Film Festival has now officially been postponed considering the increasing spread of coronavirus...
In any other time and in any other place, She Dies Tomorrow would be a lucid and unsettling film. Screened in the height of a global pandemic, it is difficult ...
For more than two and a half decades, the films of Jia Zhangke have given the world a poetic and deeply personal account of the shifting social plains of moder...
At last year's Sundance Film Festival I saw what would go on to be one of the year's best documentaries, American Factory, an intimate look at the clash of cap...
Starting with the work of Joy Buolamwini of the MIT Media Lab, Shalini Kantayya’s Coded Bias is an alarming look at the imperfections of technology trusted to ...
Emotionally affecting if somewhat unfocused at times, Kim A. Snyder’s US Kids is an often inspirational documentary capturing the energy and personalities behi...
When DAU. Natasha premiered at the Berlinale less than a moon cycle ago it was unprecedented and an entirely unique film. We now have precedent for the DAU mov...
