Wim Wenders is back, and he’s brought Lou Reed (still dead) with him. It’s not that Wenders hasn’t been making films. He has. It’s just that the only good ones...
The 76th edition of the Cannes Film Festival came to an end today at the awards ceremony, featuring prizes handed out by jury president Ruben Östlund and membe...
The pastures in Nuri Bilge Ceylan’s luminous new film are only dry at the very end. Save for that brief summery coda, the landscape in About Dry Grasses remain...
Few would have imagined that Brazilian-Algerian director Karim Aïnouz––whose The Invisible Life of Eurídice Gusmão won the top prize in Un Certain Regard four ...
The barbaric, bloody sins of the past come to define what entities govern certain land today, carried out by conquistadors and colonizers who hide behind right...
With Martin Scorsese on the mind following the triumphant Cannes premiere of Killers of the Flower Moon, I've been looking to catch up on the last few unseen f...
In Club Zero, the students of a radical nutrition class are taught the benefits of eating consciously––if they choose to eat at all. It's the latest film from ...
One of the most prized moments of Howard Hawks’ macho manifesto Rio Bravo is when Dean Martin’s Dude kicks back, gazes lightheadedly at the ceiling, and moseys...
Anne (Léa Drucker) is an esteemed lawyer: as uncompromising as she is in her line of work, she is free to enjoy her private life. In her '40s she has it all, t...
Near the halfway point of The Delinquents, a funny, existential epic from Argentina, a banker dips into an arthouse cinema. Though almost all the seats are fre...