Boonbunchachoke’s defense of historical memory couldn’t be more timely.
The film’s emphasis is on the spectacle of protest, rather than its organization.
The film sees the intensity of moral strictures as giving meaning to the transgression of them.
The film is most fascinating for its interrogation of its own representation.
The film’s archival images conjure a sensation of inexorable doom.
Mumenthaler’s attention to subjectivity invites comparison to Virginia Woolf’s work.
Horror is a genre perfectly suited to Chainey’s soundtrack-forward style of filmmaking.
The film self-consciously disrupts linearity through dreamlike repetition and displacement.
Throughout the film, Victor Kossavosky finds novel ways to create a sensation of deep time.
The film reveals—and urges on—a historical shift in how we relate to other living beings.
The film collages its influences with an anarchic panache.
The film conjures a distinct mood, if obliquely, through intimations of doom.
This film essay ultimately argues unconvincingly against art’s right to imagination.
Desert of Namibia comes full circle from one stalemate to another.
Courtney Stephens’s film blends fiction and autobiography to fascinating implications.
The film is about more than the real leverage that militant mass movements can exert.
The film intriguingly prods at current-day anxieties around having children.
The film is a meditation on love and desire, death and memory, silence and expression.
With his latest, Dumont leaves the refreshment of the space opera to future practitioners.
This Irish drama’s tone of inevitability amounts to an anti-modern despair.