Liu Jian’s Art College 1994 rejects these clichés and instincts, instead seeing youth in the face of art for what it is: blowing a lot of hot air.
From Cannes Film Festival Wilson Kwong reviews Payal Kapadia’s Grand Prix winning All We Imagine as Light and Rúnar Rúnarsson’s When the Light Breaks.
Inspired by a true story; an enchanting adventure about a lost penguin rescued from an oil spill, who transforms the life of a heartbroken fisherman.
Lucy and Jane have been best friends their entire lives. When Lucy embarks on a personal journey, she faces a test of her friendship and sense of self.
From Cannes Film Festival, Wilson Kwong reviews
Magnus von Horn’s The Girl with the Needle and Agathe Riedinger’s Wild Diamond.
Jonathan Millet’s Ghost Trail and Guan Hu’s Black Dog both tackle serious subject matter with subdued restraint.
It’s truly difficult to qualify the beast of an experience that is Megalopolis, and because of that, there’s an undefinable elegance.
At Canne’s 2024, Film Inquiry reviews Quentin Dupieux’s The Second Act (Le Deuxieme Acte), and Rungano Nyoni’s On Becoming a Guinea Fowl.
A chance meeting with a neurosurgeon sparks a connection but Lily begins to see sides of him that remind her of her parents’ relationship.
Furiosa: A Mad Max Saga, is a prime example of how to craft a narrative expansion that ignites a creative spark worthy of praise.
An architect wants to rebuild New York City as a utopia following a devastating disaster.
Film Inquiry spoke with director Lee Thongkham for the film Kitty the Killer!
After two decades as one of the most beloved and enduring musicals on the stage, Wicked makes its long-awaited journey to the big screen.
With I Saw the TV Glow, Jane Schoenbrun stakes their claim as the preeminent chronicler of those specific horrors inherent in coming of age as a millennial.
Even with as slow and frustrating as the first half of it was, New Life was still a fun watch.