Film Reviews
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.
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.
Furiosa: A Mad Max Saga, is a prime example of how to craft a narrative expansion that ignites a creative spark worthy of praise.
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.
Hundreds of Beavers is a comedic masterpiece, delivering non-stop hysterical sight gags, formal ingenuity, and cathartic woodland violence.
Finally getting to witness Spider-Man 2 gives me a newfound appreciation for my peers and this communal experience.
Curl Power has a deep awareness of the bonds of sisterhood that exist between the girls, yet is clever enough to also understand their individuality.
The Beast is about a man beset with loneliness and fears of a fatalistic event likened to an unseen beast haunting him.
Limbo is a fish-out-of-water tale in a barren Outback town.
Femme is both mean and tender, displaying how sexuality and secrets can keep ones real self in violent confrontation with one’s masked self.
A timely horror satire chock full of gore and guffaws, Humane entertains in spite of its flaws.