By Philippa Snow | May 11, 2022

The most provocative reason Thyberg could have given for Linnea’s career is the un-thrilling reason almost everybody has for going to work: to pay the bills, to secure housing, and to live.

By Katherine Connell | May 2, 2022

Though certainly less chaotic than The Lighthouse in unearthing repressed desires beneath manly bravado, The Northman suffers from a similar overestimation of both the perversity and brutality of its imagination.

By Michael Koresky | April 28, 2022

Noe uses two cameras to capture all of their travails in intimate close-up, allowing us to see them both at once using split-screen. Such a formally rigorous approach tends to call attention to itself, naturally inviting questions of aesthetics and perception.

By Lindsay Brayton | April 23, 2022

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 Susannah Gruder | April 22, 2022

Time is in many ways the subject of Petite Maman, which opens with the ticking of a clock, suggesting the childlike domain of Fanny and Alexander, a film that likewise tries to understand the mysteries of adulthood through a child’s eyes.

By Demi Kampakis | April 20, 2022

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.

By Caden Mark Gardner | April 15, 2022

The film is a reflective presentation of how an entire generation was drawn into the digital sphere in response to a physical world that often left them in a despondent state of isolation, dissociation, and dysphoria.

By Lawrence Garcia | April 6, 2022

The filmmakers repeatedly return to one notable formal strategy: building up a link between two people across a given scene or shot, then punctuating it by cutting to a heretofore unseen observer.

By Chloe Lizotte | March 25, 2022
At the Museum

The title of Vengeance Is Mine, All Others Pay Cash may be slick and playfully edgy, but in ironic passages, Edwin ruptures that tone.

By Greg Cwik | March 25, 2022

X is a sinister, salacious slasher that is unencumbered by pretensions, a film flensed of fat (and flesh), concerned with grisly gory fun and giving us people getting stabbed and shot and eaten by alligators.

By Matthew Eng | March 23, 2022
At the Museum

Feathers is a caustic rejoinder to a country still dragging its feet on gender parity, particularly when it comes to the issue of labor.

The film dissects the status of Bangladesh as a postcolonial nation that, like many other postcolonial nations, tries to establish itself as a free nation while holding onto symbols that tie it back to the period it wants to (impossibly) outgrow.

By Chris Shields | March 20, 2022
At the Museum

The Balcony Movie is about the contingency of human perspective and what that means for our lives and relationships, but it is also about what thoughtful works of art can create.

By Vikram Murthi | March 19, 2022
At the Museum

The premise/gimmick features Guido Hendrikx behind the camera as he approaches the doorsteps of strangers and stands there waiting for any kind of encounter.