The raw emotion underlying The Phoenician Scheme peeks out at unexpected times.
Bloodlines finds frights and fun alike in a string of gory kills.
Jia discusses why he thinks the shifting nature of society has also shifted our conception of time.
The film plays right into Robinson’s sweet spot of surrealistic and satirical comedy.
Saxon discusses what he sees as the relationship between technology and nature.
Kulumbegashvili discusses why she wants to sabotage expectations every time she makes a film.
Ahn talks about what he hopes audiences will take away from his spin on the material.
Cronenberg discusses the pull of A.I., taking to the dead, and the optimism of the film’s ending.
Laura Casabé abstracts the typical emotions of tortured teens, only to then amplify them.
The film amounts to more than a slow cinema-inflected riff on the Final Destination series.
The film embodies the cruel ironies of a woman’s declining state in story and style alike.
The America of the film is a jealous god requiring ritual sacrifice to achieve one’s destiny.
Gomes discusses the film’s “ping-ponging” dialectic, interpretations of the film, and more.
The tidiness of The Friend increasingly plays as timidity across the two-hour runtime.
The film’s rhythms embody the swirling confusion and contradictions of adolescence itself.
The French filmmaker discusses how he formalized a Freudian gaze for the film.
Lesage discusses the struggles faced by more than just youth across his films.
Nyoni and Susan discuss how they collaborated to develop the inscrutable character of Shula.
Lund discusses how Wiseman, the legacy of baseball movies, and criticism influenced Eephus.
The film is an empowering narrative of one woman who refuses to see age as a ceiling.