Azazel Jacobs grew up in the world of film, understanding its importance from his father, experimental filmmaking pioneer Ken Jacobs. His newest feature, Frenc...
At a glance, Azazel Jacobs’ French Exit seems trivial, especially at a time when billionaires exist in droves, and the wealth divide continues to drastically w...
Producer Filip Jan Rymsza, editor Bob Murawski, along with Peter Bogdonavich and Frank Marshall, surprised the film world in 2018 when they finished Orson Well...
Red, White and Blue, the third and weakest film from Steve McQueen’s Small Axe anthology series to premiere at this year’s NYFF, suffers because of its program...
In reimagining one’s history, you suspect your role in the proceedings. If you’re American, you put yourself in the heart of the battle, at the Constitutional ...
The dedication at the end of The Plastic House is short and sweet: “For Mum & Dad.” Like the rest of writer-director Allison Chhorn’s documentary, that ded...
Canadian novelist and playwright Robertson Davies once compared the continuity of a reader’s relationship to literature to that of architecture transforming in...
It feels like a lifetime ago that I watched I Carry You With Me. It was a Sundance press screening in the middle of my busiest day at the festival, and frankly...
Chaitanya Tamhane’s second feature-length film, The Disciple, trains its camera on characters to explore their entire person. Tamhane intentionally stages his ...
Humans want to believe in meaning and mystery. At times, an overwhelming sense of certainty can fill one's mind––about an idea, a truth, a religion, or a signi...
