drama
Private Life is a beautifully crafted study of two people who struggle to relinquish their desire to control and plan every element of their life.
For all its faults, U – July 22 attempts to throw the viewer into an unimaginable situation instead of passively retelling it is worth celebrating, even if it doesn’t fully achieve its immersive aim.
In our first report from Film Fest 919, Josh Martin recounts the nauseating absurdity of Dogman, memorably fascinating Destroyer and Cannes’ Palme d’Or Shoplifters.
Expelling all mental illness, Maniac blends all conceivable genres and tones, in an unmistakably difficult balancing act set in an unknown retrofuturist timeline.
With an infectious sense of humor and some wonderfully dynamic performances, The Favourite is a shining example of a filmmaker at the prime of his art.
With an unapologetic, feminine roar, City Of Joy takes on a wholly ignored genocide, racism, toxic masculinity and bloodthirsty greed, a rallying cry for survivors of violence and product consumers.
Gustav Möller’s The Guilty is compact but crushing single-room drama successfully secures our emotional and visceral involvement whilst quite boldly moving into some genuinely dark areas.
“Do Right, Vote White!” marks Shameless’s 100th episode and it does so with the style we’ve become accustomed to.
I Think We’re Alone Now is a beautiful slow burn drama with a beautifully eerie atmosphere and striking performances from Dinklage and Fanning, ruined by an unruly mess of a third act.
We spoke with Rory Culkin about his role in The Song of Sway Lake, what drew him to the subject matter, and his, at times, rocky relationship with director Ari Gold.
Distinctively reminiscent of the show’s first season, with it looking to unfold on a case-of-the-week style basis, How To Get Away With Murder’s season premiere is taking one step back, hopefully, in order to take multiple steps forward.
Transit and Diamantino are two films that, though with varying approaches and to varying success, attempt to delve into the political turmoil of our world through their narratives.
In this first report from NYFF, we delve into Jean-Luc Godard’s latest film and an experimental feature from Ming-liang Tsai.
Kristy Strouse spoke with Eva Vives, director of All About Nina, using her own emotional history to power this inspiring hybrid of comedy and drama.
A Star is Born announces Bradley Cooper as the next great actor-director, but Lady Gaga is by far the beating heart of his directorial debut.