By Sarah Fonseca | December 5, 2020

It comes as a relief that Francis Lee is not a punishing filmmaker. We are not made to observe Mary living out these well-documented instances of discovery and loss onscreen. Nor are we inclined to reduce her life to a quest for notoriety, foiled by Victorian paternalism.

By Jeff Reichert | October 30, 2020

Fire Will Come, with its single location and small cast, is a more focused work than Mimosas, but maintains a similar sense of possibility as the earlier film, of things unknowable to the viewer. What’s really important may be happening somewhere outside of the frame.

By Devika Girish | October 19, 2020

The Calming consists of tableaux as elegant and precise as blocks of ice, fixing Lin in the solitude of hotel rooms, cars, trains, and parks, or in moments of hushed chitchat with a curator in Tokyo, a colleague in Beijing, a friend in Hong Kong.

By Lawrence Garcia | October 16, 2020

In adapting London’s novel, Marcello and his screenwriting partner Maurizio Braucci have transposed Eden’s story from turn-of-the-century Oakland to the coast of Naples, but they’ve also left the question of when intentionally unresolved, indeterminate.

By Nicholas Russell | October 15, 2020

Tragic Jungle is best approached with fairy-tale logic in mind. Olaizola hints at the possibly supernatural nature of the transformation of Agnes by vacillating between the perspectives of the chicleros and their leader.

By Beatrice Loayza | October 12, 2020

Funded by a Kickstarter campaign and shot sporadically over a period of two to three weeks on 16mm, Slow Machine has all the features of the rough-and-tumble New York indie, and it wears this vintage shabbiness as a badge of pride.

By James Wham | October 10, 2020

Filming in various countries across the northern Levant, though never specifying which from scene to scene, Rosi chooses small, spare stories that are more concerned with affecting the viewer than informing them.

By Nicholas Russell | October 8, 2020

McQueen toggles between fiction and historical recreation, all the while attempting to imbue nuance and depth to a depiction of black life in the West Indian community of London from the 1960s to the 1980s.

By Jordan Cronk | October 8, 2020

Diving fully into the fantastical, Green has here turned the allegorical dimensions of his prior films inside out. Steeped in myth and satirical humor, the film betrays a playfully perverse sense of humanity and moral comeuppance.

By Forrest Cardamenis | October 7, 2020

The new Jia documentary may not have the aesthetic boldness of his best work, but it illuminates the proximity of fiction and nonfiction in his oeuvre and doubles as something of a directorial mission statement, highlighting the role of the artist in writing and preserving history.

By Nicholas Russell | October 7, 2020

Note the staging of his scenes here, how people almost always have some physical object between them as they share increasingly intimate details about their lives, or how that physical object, like a plate of freshly cut apples, can be used to close distance in the presence of silence.

By Beatrice Loayza | October 6, 2020

This first foray into scripted narrative by documentarian Heidi Ewing trembles with longing. In this nonlinear, decades-spanning romance about an undocumented gay couple from Mexico, Ewing paints the first blush of love as a neon-lit meet cute, a first kiss beneath a purple dawn.

By Susannah Gruder | October 2, 2020

In the spirit of films like the Chantal Akerman documentary No Home Movie and I Go Gaga, My Dear, by Naoko Nobutomo, Johnson tries to capture him on camera to come to terms with his eventual disappearance, while also somehow keeping him alive.

By Lawrence Garcia | October 1, 2020

The Last City continually trades on a pervasive, pointed sense of absurdity, underscoring our distorted perceptions of the world and its sundry surfaces.