Criterion rolls out the red carpet for this ode to France, French cinema, and The New Yorker.
The past comes off in Mascha Schilinski’s film as an onerous, if unseen, weight on the present.
The series takes its characters more seriously than it does its franchise.
Like its characters, the show’s fourth season is trying to find a mellower way of being.
The film’s simplicity serves to highlight the rich complexity of human emotion.
Jared Hess’s film is riddled with bugs.
There’s a sense here that Shannon has a dark comedy on his hands that he can’t commit to.
Writer-director Hannah Peterson effectively suffuses the film with a mournful absence of life.
The film lucidly reminds us of the human stakes of Israel’s resettlement of the West Bank.
The exhibition encourages a critical perspective on movie props and the world they come from.
In its third season, the series dilates the plot, letting mood and character simmer.
The Devil’s Bath details a social configuration at once familiar and alienating.
Diop’s riveting meta-drama receives a series of extras that exalt its wide-ranging themes.
The film ultimately doesn’t discover very much unexplored thematic space of its own.
The effect of Diop’s documentary is haunting and powerful.
The film may be the first to find a sweet spot between Dumb and Dumber and a nature doc.
Unable to commit to realism or absurdity, the film fails to live up to the promise of its title.
Visually and aurally, it’s easy to get as caught up in the world of the film as its characters do.
Assayas’s film is a gently smart and warm-spirited look at love in a time of stasis.
The at times meticulous realism of Tim Mielant’s film eventually gives way to hokey drama.