Perhaps the best surprise we got when it comes to the fall movie season is we were getting a brand-new film from Joel and Ethan Coen. The Ballad of Buster S...
Gender complicates everything. It dictates how our we live our lives. The image that we project is usually aligned with the image we were saddled with at birth,...
In William Faulkner’s elegiac southern gothic tale As I Lay Dying there’s an oft-cited passage that resonates with the novel’s core theme of radical subjectivit...
After Ken Burns’ exhaustive, comprehensive documentary series The Vietnam War aired last year there was little in the way of answers to the lingering question o...
When Alfred Hitchcock decided to shoot his parlor mystery-thriller Rope in what appeared to be one long, continuous take he unknowingly opened Pandora's box. Af...
With its gorgeously choreographed sword duels, sabers slicing through paddles of blood and rain, watercolor bi-chromatic palettes and sumptuous costumes, Zhang ...
Gaston Solnicki’s previous film Kekszakallu, which placed him on the festival circuit radar, resembles a documentary. A film about a group of teenage women born...
We talk to the Taiwan-based filmmaker about his new film, a 76-minute picture that consists of unbroken close-up shots of 13 unidentified, seemingly unrelated people....
Who needs a middle man’s subjectivity when you have algorithms predicting what people will like? Critics don’t matter much in Olivier Assayas’ talkative Non-Fic...
Paul Greengrass, director of United 93 and Bloody Sunday, returns to the realm of the “too soon?” with 22 July, a clichéd and rather problematic film–with a fra...
