symposium
By Michael Koresky, Jeff Reichert | January 21, 2020

No matter how much things change, movie love remains; it is always regenerating, refreshing, being passed down to new lovers.

symposium
By Lawrence Garcia | January 21, 2020

Appropriately enough given the wending paths of its volatile teenage heroine, the film occupies a state of arrested transformation, as if on the cusp of an epiphany that never quite arrives.

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| January 14, 2020
Years in Review

Biggest Offense, Best Car Chase, Most Unexpectedly Kubrickian, Biggest Missed Opportunity, Best Audience Experience, Most Offensive Archival Project, Best Long Takes, Most Jaundiced Take on Relationships, Best Reverse Shot, and much more

review
By Fanta Sylla | January 14, 2020

Ladj Ly has always used his camera to make sense of the immediate and concrete reality he lived in by documenting and interrogating it tirelessly. As such, the director’s late blooming success since the film’s premiere at Cannes last May feels somehow like justice, the reward for a relentless endurance.

feature
| January 3, 2020
Years in Review

The Irishman, The Souvenir, Parasite, Atlantics, Uncut Gems, Transit, A Hidden Life, High Life, Portrait of a Lady on Fire, Once Upon a Time ... in Hollywood

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Following the New York theatrical premiere of the Reverse Shot production Feast of the Epiphany, the feature film from Michael Koresky, Jeff Reichert, and Farihah Zaman, we're excited to announce Los Angeles dates for the Acropolis Cinema at the Lumiere Music Hall in January.

review
By Michael Koresky | December 27, 2019

With its air of weariness and melancholy, its shadowy interiors and images of doleful professionals going through their motions, Clemency is a sepulchral film, but Chukwu never allows for an air of distanced or rehearsed affectation.

review
By Jeff Reichert | December 26, 2019

A Hidden Life reminds us that a courageous moral act need not be immediately efficacious to produce meaningful impact. His calm certitude, arrived at through faith, personal reflection, and individual experience, poses a challenge to all those around him, especially those who have decided for various reasons to align themselves with the forces of nationalism.

review
By Emma Piper-Burket | December 17, 2019

Shot over three years with a cast and crew of friends and peers, Empty Metal is clearly a film that evolved in the process of production rather than one that was conventionally conceived and executed.

review
By Caden Mark Gardner | December 16, 2019

Dark Waters is at once a legal thriller, an environmental disaster movie, and a dramatized historical document of a region, spanning decades, from the atomic age to present. On its face, such a project, set primarily in corporate offices, might seem an unlikely fit for Todd Haynes.

review
By Vikram Murthi | December 10, 2019

The goal doesn’t seem to be to sincerely interrogate the ways people move through the world following a devastating loss, let alone maintain baseline fidelity to the actual contours of human emotion, but rather to poke at an audience in just the right places so they can experience catharsis via fictional suffering.

review
By Courtney Duckworth | December 3, 2019

Portrait does not feel burdened with historical detail or shackled to period fidelity; the film operates more like a luminous reimagining of what could have happened behind closed doors, when geographical loneliness lent the unexpected pleasure of freedom from automatic social patterning.

review
By Susannah Gruder | November 20, 2019

Throughout, in the manner of The Beaches of Agnès (2008), Varda looks back at her work, attempting to connect the dots both for herself, and for her audience. Knowing she can no longer be with us, the ever benevolent Varda has left us with the next best thing.

review
By Nick Pinkerton | November 14, 2019

The haunting of Dakar in Atlantics extends beyond the film’s supernatural storyline, encompassing something more comprehensive and more unsettling in the strangeness of the 21st-century cityscape like that springing up in the suburbs, the tension between an imposed (and imposing) environment and human needs.

review
By Demi Kampakis | November 6, 2019

Marriage Story confronts the nature of divorce as a dehumanizing, lucrative institution: probing not just its emotional dynamics but also its social, structural, and economic ones.