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 Michael Koresky | October 1, 2019

Seeking historical and temporal specificity ultimately proves fruitless, and provocatively so: The Irishman is, after all, based on an account of a subjective reality, an exactingly detailed version of one man’s perception of history, and of himself.

By Lawrence Garcia | September 28, 2019

Though an adroit orchestrator of discrete scenes, Lapid has thus far struggled to construct wholly satisfying narrative containers for them. So if Synonyms stands as his most accomplished work to date, that is because it commits fully to an elliptical, disjunctive method.

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.

By Leo Goldsmith | August 14, 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 Michael Koresky | August 8, 2019

Once Upon a Time… in Hollywood is overcast with melancholy and fueled by a rueful self-determination to overcome it. It’s on the surface his simplest film, but somehow his trickiest to talk about.

By Nick Pinkerton | August 2, 2019

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.