It was more than eight years ago that the virtually unknown Ryusuke Hamaguchi premiered Happy Hour, a five-hour narrative masterclass about four thirty-somethi...
Shinya Tsukamoto’s Shadow of Fire begins as a troubling but measured film, but about a half-hour in something happens that shatters its quietude. Suddenly, a m...
Angela Schanelec’s films make extensive use of ellipses, and narratives often branch out to new characters without warning, but far from being challenging or c...
For one reason or another, Antonio Pietrangeli never took off internationally like his compatriots Michelangelo Antonioni and Federico Fellini. Part of that is ...
By the Sea begins with Angelina Jolie Pitt and her real-life husband Brad Pitt driving a sports car to a resort in France. The sumptuous buildings, the aerial c...
Arnaud Desplechin’s My Golden Days bears some superficial similarities to national compatriots Eric Rohmer and Olivier Assayas, two directors who tend to make f...
The biographical picture is in a state of crisis. At least, so goes the common griping among cinephiles, tired of uninspired retellings of the lives of “importa...
If you combine Blue Ruin’s lack of a clearly discernible story and exercise in genre with Jauja’s teases of magical realism and self-consciously mythic narrativ...
Before much of the country has gotten its chance to see Me and Earl and the Dying Girl, Variety has already reported that director Alfonso Gomez-Rejon's fo...
