More than a few eyebrows were raised two years ago when it was announced that the next outing by Bruno Dumont, dour auteur extraordinaire, would be a comedy. Bu...
For this critic’s money, of the several excellent filmmakers to emerge from the Romanian New Wave, Cristi Puiu ranks as the most formidable. After kicking off h...
Those only familiar with Alain Guiraudie’s sublime Stranger By the Lake, which finally brought the gifted French director to a (relatively) wider audience follo...
Café Society is a quintessential later-period Woody Allen film. That is to say, it’s thoroughly mediocre. It’s by now a sad truism that the octogenarian auteur ...
Starting with the Spanish conquest of the Philippines in the mid-16th century, the country was under the colonial rule of four different foreign powers for near...
Thomas Vinterberg has yet to re-attain the heights of his 1998 breakthrough feature, the vehement Dogme inaugurator The Celebration. His focus on the scabrous u...
The impressively prolific documentarian Alex Gibney – who, since 2010, has released an average of three films per year – tackles a wide variety of salient and c...
One has to appreciate Kiyoshi Kurosawa’s winking self-awareness in calling his new feature Creepy. It’s as if the Coen brothers released a film entitled Snarky,...
It’s not long into Death in Sarajevo, Bosnian writer-director Danis Tanović’s seventh feature, before it becomes clear we’re navigating allegorical territory. O...
Following in the footsteps of literature, cinema has cultivated a long and rich – and some would say tired – tradition of targeting the bourgeoisie and its mani...
