Michiel Blanchart’s thriller proceeds with little to distinguish it from its contemporaries.
With the film, Tommaso Santambrogio puts neorealism in the service of dream.
Anderson and Curtis discuss how their experiences as actresses colored their roles.
Place here is less important than its function as an allegorical echo chamber.
The film attests to the power of art-making to affirm life in the face of omnipresent death.
Delpero discusses what she hopes spending time in a bygone era offers to modern viewers.
Blumberg discusses developing the film’s main musical themes, his collaborators, and more.
Nivola discusses where he saw connections to his own life in Brady Corbet’s film.
The hedgehogs are the stars here, and it’s no longer a surprise as to why that is.
Morrison’s feature directorial debut is marked by a vivid emotional authenticity.
Kapadia’s film is a clunky fusion of sci-fi fiction and political documentary.
There are multiple ideological and formal clashes at the heart of Maura Delpero’s film.
The India on display in Santosh is fascinatingly shot through with contradictions.
At its best, the film carries itself forward with the dignity worthy of a king.
Horror continues to evolve in ways that confound and as such prove the genre’s durability.
For all their looking back, our favorite films of the year don’t engage in thoughtless nostalgia for an earlier time.
The film is as fiercely economical as Jaume Collet-Serra’s best work.