review
By Forrest Cardamenis | May 5, 2025

As the financial health of the film industry deteriorates, it will necessitate smaller crews, fewer shooting days, and various other constraints . . . Caught by the Tides represents a different kind of film that can emerge from unorthodox methods and stands as a testament to the medium’s long-term possibilities.

review, feature

The often solitary experience of analog filmmaking, as exemplified by the landscape films of James Benning, Babette Mangolte, and Peter Hutton, necessitates a free-form style that takes into account the scope and contingencies of nature itself.

interview, feature

There’s a delicious spaciousness to the first film by writer Durga Chew-Bose, which has all the sybaritic trimmings of a coastal summer: sun-dappled skin, chalky beach expanses, fresh fruit on the veranda, a perpetual breeze...

review
By Mark Asch | April 25, 2025

Blue Sun Palace represents a new aesthetic vernacular for stories of the New York City working class, betraying international inspiration more than Sundance-school neorealism.

review
By Eileen G'Sell | April 25, 2025

In Emergent City, a documentary by Kelly Anderson and Jay Arthur Sterrenberg about the Brooklyn Sunset Park district, community comprises more than a group of people who live within designated boundaries; it is a living, breathing body.

review
By Eileen G'Sell | April 21, 2025

Carrying on with the tradition of mingling eros with the abject, The Shrouds reimagines how we might visually regard our faithful departed.

interview
By Frank Falisi | April 18, 2025

The fugitive joys of the characters in Killer of Sheep emanate, as they so often do, from the collision of art and the body. A dancing woman clings to her lover’s chest, and a boy leaps between building tops. A voice within me cries: ascendence remains not only plausible, but essential.

review
By Kelli Weston | April 18, 2025

If the vampire lore in Sinners does not quite cohere, a more compelling pattern unfolds. Coogler seems to recycle a premise he first staged in Black Panther: that no one who embraces the American project may escape its grotesque transformations.

feature
| April 10, 2025
Touching the Screen

This year, each writer wrote about a single game that defined their year in play. We’ve named six GOTYs in total. Between those write-ups you’ll find a few odds and sods reminiscent of the annual RS Two Cents throwdowns.

review
By Katherine Connell | April 3, 2025

Tensions between an old and new guard of writers feature in Opus, which twists the Almost Famous concept of a writer going on the road with enigmatic musicians into a horror-comedy embittered about the state of relations between artists and critics.

review, feature

The result is less a collective narrative of the ongoing war than a collage of impressions and feelings that guide the viewer across geographical terrain and reveal a country’s citizens processing their trauma in wildly different ways.

review
By Leonardo Goi | March 28, 2025

For a tale of doomed love and excruciating loneliness, the sixth feature from Miguel Gomes is not powered by sorrow so much as an inordinate fondness for the world, a film where director and characters alike seem determined to find beauty in the most unexpected places.

interview
By Marya E. Gates | March 27, 2025

I had the image of these two coal miners in the dark kissing. I think this is because I am always interested in the spirituality of Earth, of the depth of Earth. There is something very spiritual in that. And this film is about home and leaving home.

review
By Leonardo Goi | March 20, 2025

The intention here was to make an erotic film without relying on or showing sexual acts. That was something I told myself from the very beginning: no one will make love this time.

feature
By Hannah Bonner | March 16, 2025
First Look 2025

Each of the eleven filmmakers activates celluloid’s formal potentials while also negotiating the tensions among technologies that irrevocably alter our world—and ways of seeing.