2024
This quietly existential ambivalence on the nature of love, balanced with a deep empathy for each character makes Mistress Dispeller compulsively watchable.
Riefenstahl should be the last word on its subject—not just because it is the definitive one, but also because it is the last one we need.
Despite tackling intriguing and timely concepts, Stranger Eyes ends up being a surprisingly dull watch.
The British will literally eat beans on toast for breakfast and then go to work…
No Sleep Till is a moody tone poem to that singularly paradoxical sense of anticipation and malaise that sends house cats into hiding.
Tsangari seems satisfied to keep Harvest as a teaser, a tragedy of a place with no name and leaving it nameless and without doctrine.
Drowning Dry is a movie that is waiting to burst with its emotional weight but finds itself wafting.
Souleymane’s Story is an urgent, energetic drama that follows a Guinean immigrant through the streets of Paris.
To a Land Unknown is not an easy watch that culminates in a simple and satisfying ending
Some time ago, the Walt Disney Company learned that there is significant money to be…
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…