review, feature
By Susannah Gruder | August 5, 2020
At the Museum

The corrections center actually functions as a reprieve for many of these women, who went from abusive childhoods straight into abusive marriages when they were as young as 12. The fact that a male filmmaker is let into this world shows their trust of him.

feature
By Edo Choi, Kelli Weston | August 3, 2020
Connected

Two writers dive into the deep, red waters of genre and wade through issues of racial and gender othering as expressed in a piece of Samuel Fuller pulp and a slice of Massimo Dallamano giallo.

interview
By Nick Pinkerton | July 31, 2020

The film, if it is about anything, is about the end of something and uncertain futures, the loss of spaces like this and the loss of those communities and the divisions between people. We had that in mind when we made it, but now it’s just so bizarrely resonant.

review
By Forrest Cardamenis | July 24, 2020

By respecting its audience, the film creates space to contemplate aesthetics and representation and indicates that depicting cruelty beautifully need not mean making cruelty beautiful.

feature

The dog days of this particularly dogged summer are getting to this week's pair of writers, who retreat to summer visions in which youthful expectation and adult anxiety make for fellow lazy sunbathers.

feature
By Vadim Rizov | July 17, 2020
Our House

The Paramount is the first theater I formed an attachment to for a reason other than it being a nearby multiplex. I have inevitable nostalgia for a space I haven’t entered in a decade: I don’t need to see it in person again to realize the lobby was even smaller than I probably registered.

feature

This week’s pair of writers semi-escape from their respective realities in São Paulo and New York by entering worlds of noir-ish fatalism and ironic hope with Kaurismäki and Truffaut.

feature
By Beatrice Loayza | July 2, 2020
Our House

“Hit” movies have largely been eradicated from my theater-going diet—a rather cleansing effect. Yet I find myself missing that view from the balcony, the feeling of peering down at those churning, sexless spectacles, and the slightly melancholic indifference of it all.

review
By Nicholas Russell | June 26, 2020

The Vast of Night is a riff by debut filmmaker Andrew Patterson on black and white nostalgia, featuring quippy fast-paced conversations and a fondness for the hand-built and the hand-cranked.

feature

This week’s critics come together to officially put a nineties lesbian coming-of-age comedy and a sixties Hong Kong musical romance in the queer canon.

review, feature
By Caden Mark Gardner | June 19, 2020

There is a difference between making a film of sociopolitical and cultural value and making a film about important sociopolitical and cultural matters. In some cases the latter may beget the former, but it is not a given.

review
By A.G. Sims | June 19, 2020

Lee has never been any more obsessed with race than the country he has vigorously documented over the course of his multi-decade career. The ideas he explores and the stories he tells about the myriad of black experiences seem excessive only in a canon that all but ignores them.

review
By Matthew Eng | June 17, 2020

The distracting, uniform beauty of the ensemble lends Assayas’s film an almost classical glamour that threatens to redirect our focus away from narrative events and the infrequent feint at political insight.

review
By Michael Koresky | June 16, 2020

His movies are about fraught relationships and breakdowns in communication, but without any histrionics; they often fracture time and chronology, but not in a cloying or self-consciously experimental way. They are so emotionally transparent that they run the risk of being mistaken for simple-minded.

feature
By Caroline Golum | June 12, 2020
Our House

At peak attendance, I was averaging three screenings a week, sometimes with a date or with girlfriends, but just as often alone. Unfettered by school, an uncertain future, or the world at large, I would plop myself down fourth row center. Just me, my popcorn, a sketchbook, and my feelings.