By Michael Koresky | November 19, 2021

Defining (and redefining) contemporary fascism may be a losing game, but identifying the destructive forces of moral conservatism remains as depressingly easy as ever. Another thing that remains vivid: the misogyny at the corrupt core of modern patriarchal life.

By Matthew Eng | November 19, 2021

Despite Mills’s best efforts, his fussed-over films can teeter into preciousness, especially in the concluding reunions and resolutions that cohere a little too neatly. Patness isn’t exactly the problem in C’mon C’mon—its ending is actually one of the more open-ended in Mills’s filmography—as much as its dubious blending of fact and fiction.

By Gavin Smith | November 17, 2021

The viewer may anticipate a contest between Phil and Rose for the boy’s heart and mind, a kind of moral tug-of-war, and Rose’s physical deterioration as her son’s fortitude develops enhances the misdirection. But in the end, it’s Peter’s conception of masculinity, as encapsulated in the film’s opening voiceover, that prevails.

By Lawrence Garcia | November 12, 2021

What Do We See? operates like a kind of benevolent human magic: it splits our attention between two poles, one natural, the other personal, between the coherent order of the natural spectacle and the driving personality behind it.

By Clara Miranda Scherffig | November 12, 2021

Everybody is the victim of a patriarchal, homophobic, and capital-driven society. It might sound terrifying or hilarious, depending on the point of view, but The Beta Test sends a plausible message: people are now just scrapeable data.

By Simran Hans | November 3, 2021

This Diana, portrayed by Kristen Stewart, is a woman in crisis; suffering from an eating disorder, dissected by the media, and a year away from divorcing the cheating father of her two children.

By Chloe Lizotte | October 29, 2021

Part II builds on its predecessor in sophisticated ways. Hogg has said that the sequel can stand alone, and that may be true, but its almost noirish visual callbacks instill ghostly memories that, over time, transcend the ectoplasm of one person or film.

By Adam Nayman | October 29, 2021

Circularity, stasis, and a certain, refined sense of stagnation as a state of tarnished grace: all are very much a facet of his aesthetic and sensibility, with characters trapped in variably self-insulating and self-destructive loops of passivity, inaction, and age-inappropriate behavior.

By Nicholas Russell | October 28, 2021

Who is watching and who is being watched are questions that merit serious scrutiny, and the answer to each reveals how much or little understanding of the situation at hand there is.

By Gavin Smith | October 22, 2021

The challenge facing any critical exegesis of this or any other adaptation of Dune is that the world-building novel by Frank Herbert (elaborated upon in five sequels) drops you into a fictional universe so fully imagined that the uninitiated cannot help but be daunted.

By Matthew Eng | October 19, 2021

Hamaguchi leaves room for a viewer to meet his characters in media res during situations augmented by his keen eye for detail, his unidealized world-building, and his understanding that even the most ordinary life is a vessel of passion and pain worthy of cinematic treatment.

By Forrest Cardamenis | October 15, 2021

Whether it is a movement or a blip on the radar, All About My Sisters demonstrates a new tendency focused on oral history and memory as a means of retaining or recovering the past.

By Matthew Eng | October 15, 2021

What does it mean to create not just in the shadow but in the very kingdom of a towering genius, one who has left a permanent mark on so many who make movies? And what if this mark is less a blessing than a curse, something like a psychic stain that stifles the creative impulse rather than nurtures it?

In an echo to his father's 2015 masterpiece Taxi and in the great Iranian cinematic tradition, notably the films of Abbas Kiarostami, Panah Panahi presents this vibrant, bracing, and tenderly devastating family portrait through the pressurized chamber setup of a road movie.