Petzold has crafted yet another sneakily trenchant commentary on How We Live Now.
Gavagai examines how the prejudices we’ve supposedly left in the past still shape that world.
The film sees the narrow self-interest of a nation reflected in the man at its center.
Hartley discusses Where to Land’s origins, fundraising, and drawing from his own life.
The film maintains a unity of thought despite its expansive, kaleidoscopic approach.
The meticulous recounting of Sara Jane Moore’s actions only deepens their mystery.
Perry’s Cubist portrait finds a fitting balance between reverence and mischievousness.
Miguel Gomes casts a satirical eye on a globetrotting journey’s basis in colonial conquest.
The competing passions at play throughout Misericordia inevitably spill over into violence.
For Mendonça Filho, to reflect reality isn’t enough, as cinema has to find its own truth.
Soi Cheang’s bustling, lovingly crafted frames are a breath of fresh air.
Hui’s investment in her characters and their passions bleeds through every frame.
Throughout, Drew lampoons comedy institutions as freely as she does superhero hegemony.
Throughout the film, Mendonça Filho’s warm remembrances are streaked with bitterness.
The film refuses to vary from its quickly established tone of gentle, plaintive lyricism.
The wry humor of the film masks profoundly complex and painful undercurrents of emotion.
The history of Winter Kills is nearly as lurid and tangled as the conspiracy it depicts.
The film’s hard-won humanism belongs only to itself.