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.

By Demitra Kampakis | October 1, 2018

The Favourite works in an idiosyncratic register that distills his austere and sometimes brutal gaze to darkly comic effect. Here, he reimagines the period piece as an acerbic battleground of wits, where no behavior, interaction, or pastime is too eccentric or primal.

By Daniel Witkin | September 30, 2018

Coming at a time dominated by talk of the bifurcation of the country, Monrovia, Indiana is an excavation of life in the other America. Its place within the career of Frederick Wiseman also works into this dichotomy . . .

By Michael Koresky | September 30, 2018

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 Nick Pinkerton | September 29, 2018

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 Demitra Kampakis | September 29, 2018

Elisabeth Moss plays the character at the center of this swirling psychological vortex, and does so with a reckless abandon that is cathartic and very impressive, if not slightly unnerving in its commitment.

By Justin Stewart | September 21, 2018

It plays like a career recap of his greatest hits, sprinkled with new heroes, villains, random aged inserts of wholesome 1950s Americana or crumbling infrastructure, and freshly updated ironic soundtrack cues.

By Tayler Montague | September 14, 2018

Emancipating the image feels like a goal in Hale County, which loosely follows the lives of Daniel Collins and Quincy Bryant, ballplayers who are simply living and striving and working.

By Josh Cabrita | September 6, 2018

Just as Kate had no access to footage of Christine Chubbuck while preparing to play her, the residents of Bisbee must invent backstories, postulate connections between their roles and themselves, and develop entirely new countenances with no objective reference points.

By Jordan Cronk | September 4, 2018
At the Museum

Blake Williams has achieved a holistic union of his own that speaks at once to the transformative power of the moving image and the oceanic force of its full deployment.