drama
The Bikeriders is a memorable addition to Jeff Nichols’ ouvre.
When I think of epic and intimate storytelling in animation, I think of The Lion King (1994).
Revisiting July Rhapsody is a reminder that Ann Hui is one of the most empathetic and important filmmakers of the Hong Kong New Wave.
Family Portrait captures the underlying sense of menace seeping into the monotony of everyday life that characterized the early days of the pandemic.
My Sweet Land is a somber warning call that its events are not contained in one place or time, they are the story of humanity.
All these errors in execution aside, Green Border should raise international awareness of what’s happening to these refugees on the European border.
Criterion has prepared a new 4K Ultra HD Blu-Ray edition of David Lynch’s Blue Velvet. Let’s take a look!
Ultimately, though the package may feel familiar, The Devil’s Bath still has cogent ideas to share.
From Tribeca Film Festival 2024, Soham Gadre takes a look at CHAMPIONS OF THE GOLDEN VALLEY, BAM BAM: THE SISTER NANCY STORY & THE WEEKEND!
The overall effect is an icky jumble, at once anesthetizing and agitating, languorous and frenetic, a cinematic case of acid reflux.
Wildcat becomes a lens through which to see beauty and empathize with one of our great American writers – and what a gift it is.
A powerful and poetic debut feature, Banel & Adama signifies Sy as an exciting young artist to watch in world cinema.
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.
From Cannes Film Festival, Wilson Kwong reviews
Magnus von Horn’s The Girl with the Needle and Agathe Riedinger’s Wild Diamond.