As years pass by and films rack up, it's only natural to associate directors with certain things. And none more so than Hong Sangsoo, for whom a new release us...
In 1947, ten years before becoming an actor, Philippe Garrel’s father, Maurice, joined a company of puppeteers. That piece of history is like a well of inspira...
Thirty or so minutes into Angela Schanelec’s Music, a character makes a startling discovery. We’re inside a prison on the outskirts of an unidentified Greek to...
The singular styles of filmmakers in the Woche der Kritik (aka Berlin Critics' Week) often result in some of the year's most under-appreciated and formally exc...
For anyone keeping tabs on Bas Devos' career, it's notable that the drama of his latest film Here is set in motion by something as benign as a pot of soup. A c...
Purchasing and shooting on celluloid film, especially in this age of closing processing labs, is expensive for large and smaller productions alike: the documen...
Writing recently about the introduction of video umpires in baseball, of all things, Zach Helfand was skeptical: “accuracy is not the same as enjoyment,” he wr...
To be blunt about it, we’re reaching the sad, maybe inevitable stage where Beau Travail and its famous closing sequence are becoming subject to the dreaded “Se...
“Did you know that we keep on hearing after we’re dead?” The question comes up early into Lois Patiño’s Samsara but haunts the film from first shot to last, do...
The characters of Tótem don’t just appear onscreen; they take it over. From the top there's the patriarch Roberto (Alberto Amador), who speaks using an electro...
