The film starkly reveals the toll propaganda takes on everyday individuals and communities.
Köln 75 becomes far more compelling after Jarrett finally makes his entrance.
Check out our ranking of all the Palme d’Or winners since 2001.
The relative restraint of La Grazia makes its baroque flourishes stand out all the more.
Cooper’s third feature is playfully fascinated with the art and psychology of performance.
Jarmusch’s latest is haunted by mortality and the inevitable passage of time.
The Woman in Cabin 10 doesn’t waste time but also jumps to its climax too rapidly.
Like the best detective tales, the film doesn’t just dazzle us with a clever answer at the end.
Byrne discusses where she sees similarities between performing comedy and horror.
Julia Ducournau returns to the well of body horror, albeit a little tentatively.
Bronstein discusses her approach to telling stories drawn from her own pain and anxiety.
Think of Lighton’s Pillion as a BDSM spin on Brief Encounter.
The film stubbornly adheres to the same action template as the first two films in the series.
Petzold has crafted yet another sneakily trenchant commentary on How We Live Now.
The film is most fascinating for its interrogation of its own representation.
To get to the primal thrill of racing, Iwaisawa uses just about every technique at his disposal.
The film is a satiric look at Stalinism and bureaucracy with shades of Kafka, Orwell, and Gogol.
At times, Resurrection seems to outright taunt viewers for trying to make sense of it all.
PTA is a portraitist who specializes in characters with longings that they can barely understand.
Pálmason’s impressionistic approach allows us the space to form our own judgments.
Shane Black’s film plays like a misguided action extravaganza from the 1980s.