By Beatrice Loayza | October 14, 2019

In this nonlinear narrative, which abruptly, frequently jumps back eight years in time to glean moments from Sibyl’s former life and love, choppy scenes have the effect of disorienting, painful memories resurfaced, like picking up the disordered pieces of diary pages torn to bits.

By Matthew Eng | October 12, 2019

The distracting, uniform beauty of the ensemble lends Assayas’s film an almost classical glamour that threatens to redirect our focus away from narrative events and the infrequent feint at political insight.

By Chris Wisniewski | October 11, 2019

Bong makes it clear from the film’s opening minutes that this is a movie about class. But what that means—and how that plays out through the Kims’ efforts to achieve a higher station—is never settled, perhaps, until the last shot.

By Lawrence Garcia | October 11, 2019

No heroic Siegfried figure, Humberto is a feckless opportunist. And so his voiceover, which persists throughout the runtime, inevitably recalls the mobsters of Martin Scorsese, whose The Wolf of Wall Street Veiroj has cited as a conscious model.

By Chloe Lizotte | October 10, 2019

She structures her films around dramatic temporal and spatial jumps, but without the backbone of conventional pacing they seem especially jarring; it often takes a minute to realize that Schanelec has shifted gears to a different world.

By Lindsay Brayton | October 10, 2019

It’s best to keep your wits about you while watching Lou Ye’s gorgeous and surprisingly playful latest film Saturday Fiction, set in Japanese-occupied Shanghai.

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 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 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.