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.

By Michael Koresky | October 11, 2018

3 Faces is the most freeform and expansive of the cycle of movies that has come to define the latter part of his filmography, and, crucially, it is the film that brings him back to the feminist concerns that fueled so many of his definitive earlier works.

By Courtney Duckworth | October 10, 2018

The repetitiveness of his project lulls us into surprising moments of realization. We are trained, as when Ji-young repeats herself, to fix our eyes on the slight alterations between films.

By Lawrence Garcia | October 10, 2018

Clips culled from cinema and reportage flicker and transform before our eyes in a barrage of changing aspect ratios, contrast levels, and color saturation intensities; gnomic pronouncements and aphorisms (some translated, others not) boom and crackle over a detailed 7.1 sound mix.

By Demitra Kampakis | October 10, 2018

In exploring love, sex, death, and adultery this way, screenwriters Garrel and legendary screenwriter Jean-Claude Carriere adequately probe the meandering contours of relationships and commitment, as well as the elusive nature of monogamy and desire.

By Nick Pinkerton | October 6, 2018

This might seem to suggest a bit of a creative about-face, for Happy Hour, running a bit over five hours, was not precisely a commercial proposition, but in fact Asako I & II, in the space of two incident-heavy hours, works in every bit as much feeling and active intelligence as its predecessor.

By Demitra Kampakis | October 3, 2018

Assayas has consistently returned to, and been keenly attuned to, the ways technology affects and reflects our social interactions and familial dynamics—with permanence, or the lack thereof, being a common focal point.

By Adam Nayman | October 3, 2018

The theme of honor among thieves, and its embedded suggestion that outlaw principles are a form of resistance in a fundamentally lopsided society, is fulfilled at epic length in the new Jia Zhangke crime drama Ash Is Purest White.

By Nick Pinkerton | October 2, 2018

There is nothing metaphorical about the connection between a fractured China and one fractured family unit in A Family Tour. Attuned to the rhythms of often stilted conversations played out against the banal, sunny backdrop of public spaces in contemporary Taiwan, A Family Tour does not have much truck with symbols.

By Jordan Cronk | October 2, 2018

In typical Denis fashion, she presents the story through an unfolding series of sensory details: a humid garden, a pile of lifeless bodies, a gathering puddle of sweat and semen.

By Nick Pinkerton | October 2, 2018

There is some satisfaction that comes in seeing motifs and symbols established within the first part of the film as they re-emerge in the galvanizing high-wire act performance of the second, though I am unconvinced that the seeding of these symmetries can entirely justify the moribund experience of what has preceded.