2024
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.
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.
Curl Power has a deep awareness of the bonds of sisterhood that exist between the girls, yet is clever enough to also understand their individuality.
A timely horror satire chock full of gore and guffaws, Humane entertains in spite of its flaws.
Film Inquiry had the extraudinary chance to discuss with actor, writer and director Theda Hammel and actor John Early to discuss Stress Positions.
Imtiaz Ali’s Amar Singh Chamkila takes us through the life of one of the most loved and hated singers in Punjab, Amar Singh Chamkila.
Formerly the realm of big-budget blockbusters, the subgenre of underwater thrillers has been flooded with relentless low-budget pictures.