Gaston Solnicki’s previous film Kekszakallu, which placed him on the festival circuit radar, resembles a documentary. A film about a group of teenage women born...
The premise of Gary Ross's Ocean's Eight need hardly be explained; the innovations of the film stem not from reversed gender perspectives–scarcely utilized in a...
Even in his prime, Alan Rudolph always seemed lost in time, nostalgic for an unlived past. His flawed characters reflect this alienation to modernity, fatalisti...
Huang Hsin-Yao is a new voice in independent Taiwanese cinema, and his first narrative feature–an adaptation of his short film The Great Buddha–carries itself w...
Khalik Allah's debut feature Field Niggas took viewers by surprise. The film, a rare contemporary ethnographic documentary set on the corner of 125th and Lexing...
Shireen Seno's sophomore feature Nervous Translation confirms her place as a unique voice in a national cinema that often gets ignored, or distilled to only a f...
Yui Kiyohara's sophomore feature and Tokyo University of the Arts thesis film Our House begins with an almost transgressive scene that contrasts the ambiance of...
Vine fad “Simply Sylvio” and its film adaptation -- more plainly titled Sylvio -- by directors Albert Birney and Kentucker Audley offer a tense amalgamation of ...
The festival circuit is overwhelmed with miserabilist arthouse cinema, and Agnès Varda and JR are the unlikely agitators. She, the venerable jokester of the Fre...
