The America of the film is a jealous god requiring ritual sacrifice to achieve one’s destiny.
Gomes discusses the film’s “ping-ponging” dialectic, interpretations of the film, and more.
The tidiness of The Friend increasingly plays as timidity across the two-hour runtime.
The film’s rhythms embody the swirling confusion and contradictions of adolescence itself.
The French filmmaker discusses how he formalized a Freudian gaze for the film.
Lesage discusses the struggles faced by more than just youth across his films.
Nyoni and Susan discuss how they collaborated to develop the inscrutable character of Shula.
Lund discusses how Wiseman, the legacy of baseball movies, and criticism influenced Eephus.
The film is an empowering narrative of one woman who refuses to see age as a ceiling.
BLKNWS zooms across the screen, propelled by the volume and velocity of its ideas.
Blue Moon trusts that we want to engage with subjects that matter through deliberate dialogue.
The film is stitched together from a seemingly endless money shots and stylistic flourishes.
Lurker makes use of exaggeration and escalation to tell a fable about modern fame.
The film’s style is measured, not just maximalist, when it comes to body horror.
By the time it reaches its close, Hot Milk has long since spoiled into something rancid.
Rankin discusses why he rejects the idea that fakeness in cinema is inherently bad.
Abbott discusses the merging of character and self and how the film fits into his career arc.
The film is a tonal rollercoaster navigating wild swings with pinpoint precision.
This Wedding Banquet has more on the table than broad gags.
Rebuilding captivates as it finds contentment sitting in the silence and stillness of a scene.