2020s
From Tribeca Film Festival 2024, Soham Gadre takes a look at CHAMPIONS OF THE GOLDEN VALLEY, BAM BAM: THE SISTER NANCY STORY & THE WEEKEND!
The overall effect is an icky jumble, at once anesthetizing and agitating, languorous and frenetic, a cinematic case of acid reflux.
Reading Rainbow cultivated an environment that was safe for kids and equally empowering — it engendered curiosity.
Wildcat becomes a lens through which to see beauty and empathize with one of our great American writers – and what a gift it is.
A powerful and poetic debut feature, Banel & Adama signifies Sy as an exciting young artist to watch in world cinema.
Liu Jian’s Art College 1994 rejects these clichés and instincts, instead seeing youth in the face of art for what it is: blowing a lot of hot air.
From Cannes Film Festival Wilson Kwong reviews Payal Kapadia’s Grand Prix winning All We Imagine as Light and Rúnar Rúnarsson’s When the Light Breaks.
From Cannes Film Festival, Wilson Kwong reviews
Magnus von Horn’s The Girl with the Needle and Agathe Riedinger’s Wild Diamond.
Jonathan Millet’s Ghost Trail and Guan Hu’s Black Dog both tackle serious subject matter with subdued restraint.
It’s truly difficult to qualify the beast of an experience that is Megalopolis, and because of that, there’s an undefinable elegance.
At Canne’s 2024, Film Inquiry reviews Quentin Dupieux’s The Second Act (Le Deuxieme Acte), and Rungano Nyoni’s On Becoming a Guinea Fowl.
Furiosa: A Mad Max Saga, is a prime example of how to craft a narrative expansion that ignites a creative spark worthy of praise.
With I Saw the TV Glow, Jane Schoenbrun stakes their claim as the preeminent chronicler of those specific horrors inherent in coming of age as a millennial.
Even with as slow and frustrating as the first half of it was, New Life was still a fun watch.
Hundreds of Beavers is a comedic masterpiece, delivering non-stop hysterical sight gags, formal ingenuity, and cathartic woodland violence.