2024
A sprawling story, Caught by the Tides epitomizes what makes Jia Zhangke one of our most essential contemporary filmmakers.
Aesthetically pleasing but ultimately frustrating, Desert of Namibia fails to resonate despite Kawai’s substantial star power.
Blue Sun Palace pulls back the curtain of a Queens massage parlor to give us an intimate look at the lives of the immigrant women.
In Invention, an airily shaggy, collaborative piece of improvised, genre-fluid auto-fiction by documentarian Courtney Stephens and actress Callie Hernandez.
If you asked me what I wanted to be when I grew up, at 5…
Julie Keeps Quiet is a smart and sensitive debut that succeeds in telling a story about abuse of power while empowering, rather than exploiting.
Ghostlight is at once profound and moving and insightful, and features some of the most natural chemistry and acting you’ll see on screen this year.
There aren’t any stylistic flairs that Who By Fire brings to the table that differentiate this film from the prototypical coming-of-age movie.
An Unfinished Film’s creative and sensitive approach to depicting life during the COVID-19 pandemic deserves to be seen.
Bloody Axe Wound’s ideas were there but the writing couldn’t back them up or bring them to a place where we could fully care about anything happening.
Today, we’re looking at two shorts: One about a filmmaker preparing for the progression of his diagnosis, the other about a drummer struggling creatively.
House of Spoils is striking and interesting at first, but by the time the action comes it is too little, too late.
Nosferatu is a cinema masterpiece, an art house piece from an indie director who could do anything he wanted yet he chooses to make high art.
Today, we’re looking at two documentaries: One focusing on social justice in Omaha, and another exploring a mysterious hole in northern California.
Based on the Pulitzer Prize-winning novel by Colson Whitehead, Nickel Boys follows a young man,…