By Jordan Cronk | April 3, 2019

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 Susannah Gruder | March 29, 2019

Diane asks what it means to build your life around other people, and what happens when those people begin to slowly disappear.

By Michael Koresky | March 29, 2019

Peele unleashes a bevy of conceptual ideas about race, class, and American-ness that are only difficult to grasp if the viewer is not really looking. Us is supremely confident filmmaking, a thrill ride shot through with existential urgency.

By Adam Nayman | March 15, 2019

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 Emma Piper-Burket | March 15, 2019

The slow escalation throughout the film builds to show quite clearly how the confluence of time, boredom, prejudice, and weaponry create a situation with devastating consequences for all involved.

By Caden Mark Gardner | March 15, 2019

There is not much the audience is allowed to learn about Lara beyond her being trans and a ballerina. To make matters worse, Dhont makes a visual obsession out of her anatomy and otherness.

By Tayler Montague | March 8, 2019

The transfixing close-ups of Jamaicans are evidence that the eye is the window to the soul; each dead-on stare into the lens heightens the personal and political histories overlaid on the soundtrack.

By Michael Koresky | March 7, 2019

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 Peter Kim | March 5, 2019

What suffers the most from this LSD-induced breakdown of social order is the sanctity of distinctly hetero-normative values: the innocence of the child, the heterosexual couple, the pregnant mother.

By Adam Nayman | March 1, 2019

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 Tayler Montague | February 22, 2019

In demystifying the process of getting into one of the most prestigious film schools in the world, she exposes the ambivalence about race and class and the overall blindness to conversations surrounding diversity and inclusion that remain at the core of these institutions.

By Michael Koresky | February 14, 2019

Sorry Angel, by design, chronicles a decade of death and uncertainty yet is more driven by the emotional specificity of queer love, laying bare its conundrums without any pretensions to universalization.

By Leo Goldsmith | February 9, 2019

Shooting their dog protagonists in often exquisitely intimate close-ups of grizzled maws, fleshy gums, and weathered paw pads, the filmmakers foreground their curious status as semi-wild beasts that subsist both in the middle and at the margins of human society.

By Nick Pinkerton | February 8, 2019

This feeling for that bygone world of freshwater creeks and tilled fields and as-yet-uncleared woods is one of the chief inducements recommending The Lincoln Cycle, consisting of ten two-reel episodes whose direction is credited to their star Benjamin Chapin.