Jumper, Justin Anderson’s first short, opened on a naked man bathing in a pool. Conceived in 2014 for the tenth anniversary of British fashion designer Jonatha...
It was Mark Twain who said, “History doesn’t repeat itself but it often rhymes,” which is one way of approaching Belgian filmmaker and multimedia artist Johan ...
Beginning with a rip-off of the (depending on who you ask) iconic Scott Free Productions logo––albeit with a rabbit instead of bird––I knew I was in for someth...
A few weeks ago, as The Sweet East started gracing theatres across the States, Reverse Shot ran a sprawling conversation between critic K. Austin Collins and c...
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...
“A director can’t understand the final result from a description. You cannot describe music; it needs to be listened to.” So says Ennio Morricone in one of man...
There is very little written in the English language about the cinema of Bhutan, with only the broadest overviews of this still-emerging industry to be found a...
Filled with wonderful musical performances exploring the 30-year career of Luther Vandross, Dawn Porter’s sweeping biographical documentary Luther: Never Too M...
It takes a very specific kind of brain trust to craft something as uniquely baffling as Argylle. If you've been to a multiplex in the last 7 or 8 months, you'v...
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...
