The worlds of contemporary geopolitics and narrative independent filmmaking collide in You Resemble Me, a movie that shape-shifts from a first act coming-of-ag...
One of the particular pleasures of The Lost Daughter, actress Maggie Gyllenhaal’s debut feature as a director, is wondering which of the handful of sizeable fe...
Contemporary filmmakers clearly have an enormous bee in their bonnet for the coming-of-age film and poetic youth memoir—even Steven Spielberg is currently gett...
The way her career is headed, soon we’ll be able to collate an Ana Lily Amirpour map of the United States. A Girl Walks Home Alone at Night was set in a fantas...
The contemporary royal family are more compelling as media figures than anything with much consequence to how life is lived in Britain today. They make great f...
Can someone get Edgar Wright a DJ residency? Or a prime-time (or drive-time) radio slot. Few working directors are so passionate and eager to play the tunes, t...
David Cronenberg, who certainly knows a thing about difficult literary adaptations, may have said it best: "In order to be faithful to the book, you need to be...
Whatever new could be said about Paul Schrader as an artist—curving around the extra-textual value in Kickstarter campaigns, Facebook posts, and tragic losses ...
In a film of carefully appointed details, let’s isolate one. Phil Burbank (a fierce Benedict Cumberbatch) is, among many things, a man of reputation. The Monta...
T. S. Eliot gave it a cryptic name in The Waste Land: "The Burial of the Dead." Pedro Almodóvar has instructed his glamorous cast in Parallel Mothers to carry ...
