By Courtney Duckworth | October 12, 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.

By Demi Kampakis | October 12, 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.

By Matthew Eng | October 12, 2019

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.

By Lawrence Garcia | October 11, 2019

No heroic Siegfried figure, Humberto is a feckless opportunist. And so his voiceover, which persists throughout the runtime, inevitably recalls the mobsters of Martin Scorsese, whose The Wolf of Wall Street Veiroj has cited as a conscious model.

By Nick Pinkerton | October 11, 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.

By Chloe Lizotte | October 10, 2019

She structures her films around dramatic temporal and spatial jumps, but without the backbone of conventional pacing they seem especially jarring; it often takes a minute to realize that Schanelec has shifted gears to a different world.

By Lindsay Brayton | October 10, 2019

It’s best to keep your wits about you while watching Lou Ye’s gorgeous and surprisingly playful latest film Saturday Fiction, set in Japanese-occupied Shanghai.

By James Wham | October 10, 2019

Rather than servicing the melodrama of the film, as in Black Coal’s mood-washed frames of neon red and icy blue, Diao’s flamboyant visual style here works sardonically—accentuating evil in a strange, unfamiliar way.

By Nick Pinkerton | October 9, 2019

Dedicated as it is to meticulous and unhurried character study that eschews subjective or sentimental identification, In My Room checks off most of the descriptors usually applied to work produced by filmmakers attached to the Berlin School.

By Chris Wisniewski | October 9, 2019

Bong makes it clear from the film’s opening minutes that this is a movie about class. But what that means—and how that plays out through the Kims’ efforts to achieve a higher station—is never settled, perhaps, until the last shot.

By Susannah Gruder | October 9, 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.

By Demi Kampakis | October 8, 2019

Baudelaire’s hybrid film metamorphoses into a textured testament to personal and spiritual growth, friendship’s creative symbiosis, and the cumulative effect of time and patience on a labor of love.

By Lawrence Garcia | October 8, 2019

The basic premise trades in the kind of casual absurdism that’s by now expected of Porumboiu. More surprising is the fact that The Whistlers plays much like a standard policier—a relatively by-the-book offering from a director who has distinguished himself by a willingness to throw out the manual.

By Demi Kampakis | October 6, 2019

While it’s tempting to view these histrionics as dramatic fabrications, almost everything that unfolds was captured on video recordings of the actual trial, and lifted from official testimony transcripts. Nonetheless, Bellocchio doesn’t resist the opportunity to ham up the fracas an extra notch or two, to discombobulating effect.