By Josh Cabrita | April 12, 2018
At the Museum

Gibson shows that filmmaking is an extension of a practice that is already proactive and lived. The evolving relationship between filmmaker and subject is retained implicitly in nearly every shot and interaction.

By Adam Nayman | April 11, 2018

If one of the principal powers and pleasures of cinema is its ability to momentarily suspend thoughts or cares about what lies outside the frame, then Zama can be taken an object lesson in manipulation. Every strenuously controlled moment and movement constitutes an irresistible entreaty to simply go blank and watch.

By Matthew Eng | April 5, 2018

Charlie is seeking both shelter and solace, but also a simple yet elusive thing: connection. This aligns him with all of the protagonists that writer-director Haigh has brought to the screen in a career that feels increasingly major with each new project.

By Nick Pinkerton | March 30, 2018

As Soderbergh, in his mini-mogul practice, endeavors to hack out new routes leading around the established economic order of filmmaking, his films depict men and women doing their best to negotiate contingency plans for the perilous environment created by a carnivorous economy on the prowl.

By Simran Hans | March 23, 2018

The meticulously detailed wasteland that Anderson has created is rendered with his typical craft and care . . . Yet in ethnically delineating its humans, the film sets up a curious, racially coded divide between dogs and the Japanese.

By Nick Pinkerton | March 16, 2018

Depardon is not out to expose naked cruelty, neglect, and dereliction of duty, as Wiseman and Wang do in their films, but something much more subtly invidious: the revolving-door efficiency of the state apparatus, mechanized service behind a blandly humane smile.

By Fanta Sylla | March 15, 2018

Black Panther is an unsettling experience. A sexy and entertaining blockbuster, the third feature by Coogler following Creed and Fruitvale Station is also a sad and perverse object. Its provocative ambiguity reveals itself only gradually.

By Kelley Dong | March 10, 2018

Adapting the convoluted yet scant language of the text is in itself a catch-22: total fidelity to the novel risks attracting the same denunciations that flagged the author for decades; but disloyalty jeopardizes the respect of a dedicated fanbase.

By Daniel Witkin | March 9, 2018

The film thrives on translation, communication, and perception. Like the screwball comedies of yore, it revolves around a romantic conflict that its protagonist does not fully comprehend, though here this situation is reduced from the fanciful to the quotidian.

Berlin 2018: Loznitsa is an assiduous practitioner of observational cinema. One may even argue that his nonfiction filmmaking is to the study of spaces charged with political memory what Frederick Wiseman is to the exploration of institutions.

By Mark Asch | February 22, 2018

The distance between the banality of life and the sublime of cinema seems practically unbridgeable. This sense that transcendence is elusive to us mere mortals is the explicit subject of the film.

By Daniel Witkin | February 16, 2018

The first thing you should know is that Western is not really a western. Valeska Grisebach draws upon genre iconography and mythos, but to take the comparison further requires wishful, willful thinking, an act of projection that the filmmaker cannily encourages and exploits.

By Bedatri D. Choudhury | February 16, 2018

This portrayal of an ugly divorce functions as a commentary on the dysfunctional post-Soviet, post-Communist Russia, where nothing holds value other than money and the desire to earn more of it.

By Greg Cwik | February 8, 2018

In his five films, Perry has exclusively written irredeemably selfish characters, who opt to remain in their own comfort zones, yet he sustains a consistent empathy, never dismissing or torturing them. There is a Sisyphean desperation to their yearnings.