No one, certainly not Diaz’s most ardent fans, will confuse Magellan for a romantic vision.
The film’s tableaux are impressionistic in ways that recall Claude Monet’s plein air landscapes.
Zürcher discusses his production approach and how houses can aid and abet voyeurism.
The film’s particular genius lies in a very consistent use of off-screen space.
Recalling Minervini’s past docufiction work, the film is a show of impressionistic portraiture.
A24 offers a flawless A/V presentation of Glazer’s masterwork.
Co-created by Nathan Fielder and Ben Safdie, the series asks us to get philosophical.
Richard Linklater’s film sees performance as a fundamental part of our lives.
Rejtman’s serio-comic fifth feature reminds us of how absurd and beautiful a mortal life can be.
Glazer’s film is about the soulless march of a careerist’s life.
The film’s fourth-wall-breaking wags a finger at the perceived facile nature of celebrity-driven mass culture even as it ultimately condescends to audiences.