Selections from the 2021 New York Film Festival

By A.G. Sims | October 14, 2021

Eribon aims to dignify working people, who he thinks have been ridiculed socially and taken for granted by those on the left, who once claimed to be their advocates. It is clear that he blames himself as well.

By Ela Bittencourt | October 7, 2021

Alexander Sokurov is renowned for his oblique directorial style, with mesmerizing, painterly effects, so it is surprising that he is proving to have had such influence on the new school of Russian realism.

By Michael Sicinski | September 30, 2021

The neoliberal present demands a new mode of realism, adequate to those structures of control that are cloaked by economic and informational avenues utterly inaccessible to all but the highest echelons of technocratic power.

By Forrest Cardamenis | September 30, 2021

Rrather than dole out character or narrative information too liberally in dialogue, Sugita uses editing and pacing, especially in exteriors, to help the viewer understand Sachi.

By James Wham | September 28, 2021

Alice Rohrwacher, Pietro Marcello, and Francesco Munzi have traveled their homeland in search of a national identity. What they discovered instead are the typical anxieties of adolescence.

By Mackenzie Lukenbill | September 27, 2021

The relationship has clearly been weighing on Andrea, who continually refers to himself as homosexual, despite the physicality that Duras requires of him. Arlaud portrays him as constantly shrinking, folding in upon himself, his cigarette consumption his only action that feels furtive and alive.