Jane Schoenbrun didn’t invent movies exploring teenage malaise and identity through the lens of pop culture, but in the opening moments of Caroline Poggi and J...
With only two feature films, Georgian writer-director Dea Kulumbegashvili has collected some of the highest accolades in the film world. Her astonishing debut ...
Many films have dared to ask if a man and a woman can ever just be friends, but very few have managed to answer in the affirmative. For most of its first half,...
Steve McQueen has long been upfront about his desire to make a musical; before Widows underwhelmed at the box office, it appeared likely that a passion project...
For a certain kind of cinephile (e.g. me) more than a decade's been spent wondering about Julia Loktev. The brilliant director behind Day Night Day Night and T...
The Ballad of Suzanne Césaire, the feature debut from artist and filmmaker Madeleine Hunt-Ehrlich, aims to foreground its primary literary material and histori...
“Leave the light on. It’s easier for me to dream.”
The opening shot of Việt and Nam, writer-director Trương Minh Quý’s sophomore film, is a feat of cinemati...
After screening his latest film Caught by the Tides at the Busan International Film Festival, director Jia Zhang-ke met with the press, accompanied by his wife...
Nickel Boys, RaMell Ross' narrative feature debut, is the story of a stubborn world, resisting change. Adapted from Colson Whitehead's The Nickel Boys, it's an...
Independent filmmaking duo Scott McGehee and David Siegel's The Friend, their newest in a 30-year collaboration, is a dog movie. Or, more aptly, it’s a film ab...
