By James Wham | October 10, 2019

Rather than servicing the melodrama of the film, as in Black Coal’s mood-washed frames of neon red and icy blue, Diao’s flamboyant visual style here works sardonically—accentuating evil in a strange, unfamiliar way.

By Nick Pinkerton | October 9, 2019

Dedicated as it is to meticulous and unhurried character study that eschews subjective or sentimental identification, In My Room checks off most of the descriptors usually applied to work produced by filmmakers attached to the Berlin School.

By Demi Kampakis | October 8, 2019

Baudelaire’s hybrid film metamorphoses into a textured testament to personal and spiritual growth, friendship’s creative symbiosis, and the cumulative effect of time and patience on a labor of love.

By Lawrence Garcia | October 8, 2019

The basic premise trades in the kind of casual absurdism that’s by now expected of Porumboiu. More surprising is the fact that The Whistlers plays much like a standard policier—a relatively by-the-book offering from a director who has distinguished himself by a willingness to throw out the manual.

By Demi Kampakis | October 6, 2019

While it’s tempting to view these histrionics as dramatic fabrications, almost everything that unfolds was captured on video recordings of the actual trial, and lifted from official testimony transcripts. Nonetheless, Bellocchio doesn’t resist the opportunity to ham up the fracas an extra notch or two, to discombobulating effect.

By Daniel Witkin | October 4, 2019

One can’t discuss Costa for long without focusing on his use of photography—it seems that with every successive film he learns something new about how digital cameras absorb light that no one else has yet figured out.

By Naomi Keenan O'Shea | October 4, 2019

Trouble has emerged at a particularly critical point for Northern Ireland, where violent sectarian tensions have been reinvigorated with the uncertainty spawned by Brexit. What Garnett’s film contributes is an acceptance of profound complexity in the face of belligerent binaries.

By Jeff Reichert | October 4, 2019

The possibilities and pitfalls of autofiction are on full display in Pain and Glory, the 21st feature from Almodóvar, notably the only living international filmmaker popular enough to be broadly recognizable by his last name alone.

By Violet Lucca | October 3, 2019

The question of who gets to participate in a society because of their values and cultural awareness is the central question of Bertrand Bonello’s Zombi Child, a film that is quite unlike his previous work.

By Susannah Gruder | October 3, 2019

By doing away with narrative tricks or genre bending, Desplechin puts the focus on the performances, which provide a multifaceted and devastating study of urban desperation.

By Jeff Reichert | October 2, 2019

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 Lawrence Garcia | October 1, 2019

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 Josh Cabrita | September 28, 2019

Lest his film be charged with trafficking in the same philistine stuff as pornography, Serra rarely, if ever, allows his erotica to be, well, erotic. Not as well versed in the art of the exaggerated orgasm as adult-film actors, his nonprofessionals are awkward and imprecise.

By Susannah Gruder | September 12, 2019

Like Rod Serling, director Aaron Shimberg is eager to expose our own biases, and here he thrills at luring us into a vertiginous series of alternate dimensions, seeking to unravel our ideas about the nature of beauty captured on camera.