Throughout, Glauber Rocha calls on us to imagine what we’d want a revolution to look like.
Divinity amounts to an exercise in style for style’s sake.
Once Within a Time is more of a gesture than a chain of events.
The film insists that we come to terms with it rather than straightforwardly enjoy it.
Muratova’s impressionism ushers us into the subjective experiences of her female leads.
Even when the film becomes something like a thriller, it never loses sight of its political themes.
The film goes to show that humanism and absurdism are often two expressions of the same face.
From the outset, it’s clear that the film is something akin to a rural noir.
Cavalli’s film consecrates a ferocity as refreshing as it is infectious.
The film is a timely rumination on the difference between knowledge and information.
Tyler Taormina’s film keys us to an almost primordial rhythm exempt from routine or history.
The film is a fusion of two souls, each as rough-hewn and fragmentary as the other.
The film is an object lesson in what can result when art subordinates itself to a message.
The film bears a none-too-comfy relevance to our own uneasy times.
The film is concerned above all with capturing the mood of a pivotal historical moment.
The film uncovers the paradox that trash needs little commentary.
This from the filmmaker who made Land and Freedom and The Wind that Shakes the Barley?
This isn’t just an anti-superhero superhero film, but something akin to an anti-film.
Central to the film is the tension between geological, mythic, and historical time.
Emily takes advantage of the leeway for speculation afforded by its subject’s reclusive nature.