By Courtney Duckworth | November 26, 2018

Schnabel was already a respected artist at 28, the same age when van Gogh avowed himself to art after dabbling in madness and ministering, and a year older than Basquiat would ever live.

By Chris Wisniewski | November 23, 2018

The accomplishment of Roma is experiential. Its attention to sound, setting, and how bodies and things occupy space have the effect of radically aligning the viewer to a particular perspective that is fully located within the narrative world of the film.

By Demitra Kampakis | November 21, 2018

The Favourite works in an idiosyncratic register that distills his austere and sometimes brutal gaze to darkly comic effect. Here, he reimagines the period piece as an acerbic battleground of wits, where no behavior, interaction, or pastime is too eccentric or primal.

By Jeff Reichert | November 19, 2018
At the Museum

Talal Derki remains close to this family, capturing meals, the children in bed or at play, men chatting before heading off to combat, rendered as normal as getting into a car for a morning commute.

By Nick Pinkerton | November 16, 2018

The Wild Boys is a supremely assured piece of craftsmanship, evincing an active creative engagement and ample imagination in every minute of its nearly two hour runtime.

By Jeff Reichert | November 8, 2018
At the Museum

In the films of Corneliu Porumboiu, seemingly insignificant details, questions, and disagreements ripple outward, like pebbles tossed into a still pond, until they become deep inquiries into history, language, and ethics.

By Violet Lucca | October 25, 2018

Just like the world we live in, where the inequalities between rich and poor and male and female only grow crueler and less escapable, the rage that undergirds Burning is instantly familiar.

By Matthew Eng | October 24, 2018

The crowning achievement of this drama is the game and invigorating performance of Regina Williams, from her flinty exasperation to her no-guff candor to her sly, self-protective sarcasm. Hers is a performance suffused with compassion yet devoid of cheap and easy sentiment.

By Daniel Witkin | October 23, 2018

Coming at a time dominated by talk of the bifurcation of the country, Monrovia, Indiana is an excavation of life in the other America. Its place within the career of Frederick Wiseman also works into this dichotomy . . .

By Sierra Pettengill | October 19, 2018

By calling attention to what images are projected and received, Ruth Beckermann reveals the process by which narratives can be made and unmade.

By Caroline Madden | October 17, 2018

Dano bends the contours of the coming-of-age drama by examining what is happening around his protagonist rather than to him.

By Tayler Montague | October 12, 2018

The brilliance of the film is in its show-and-not-tell ethos; the history reverberating beneath the narrative speaks to characters striving for democracy and freedom, or some semblance of them.

By Nick Pinkerton | October 12, 2018

To begin with, designed as a one-director anthology film, it picks up and disposes of various narrative threads rather than staying with the same plotline or plotlines (or absence of plot) throughout. Secondly, it depends almost not at all on real-time duration to fill itself out.

By Adam Nayman | October 11, 2018

While there are many aspects binding Transit to Barbara and Phoenix (including an oppressive system, embodied here by the vagaries of international migration in wartime), Petzold is working in a slightly different register; it is at once more rigorously conceptual and less sociopolitically specific than its predecessors.