If the death of cinema is imminent, at least Kleber Mendonça Filho can play it out with some vintage Tropicália. It’s becoming a nice leitmotif of the Brazilia...
If you went to the movies in 1989 you might have heard Indiana Jones growl the line "it belongs in a museum." You'll hear him say it again in The Dial of Desti...
Fast X is an incredibly dumb time at the movies. Not just in an F9 “they took a car to space” kind of dumb (there’s also plenty of that, which is fine), but in...
Back in 2017, Warwick Thornton landed in Venice with a western that offered some corrective to the white-savior narratives of countless others in the genre. Sw...
A dramatization of true events, The Night of the 12th mines a particular subgenre of the crime picture, the “Cold Case” (its own Bush-era CBS procedural). The ...
Few stories are as gratifying as the narrative jigsaw. How to fool the viewer into believing one thing without lying about what happened? It’s difficult enough...
The various facets of the art of the heist––from motivation to execution to life on the lam (or in detainment)––make it perennially ripe for high-stakes cinema...
When Rigoberto Duplas, the worrying conceptual artist and antagonist of Amat Escalante's new film, tells Emiliano, our steadfast lead, that the cheap glass in ...
New approaches to cinema are few and far between––as rare as a ticket to the lone Killers of the Flower Moon press screening at the 76th Cannes Film Festival––...
It’s clear from the opening moments why the narrative feature debut of Kavich Neang, finally arriving in the US nearly two years after its 2021 Venice premiere...
