art
The Plagiarists is peculiar, fairly self-reflexive, and laced with grueling yet equally as rewarding ambiguity that comes from the artists’ seat.
Film Inquiry had the pleasure of speaking with Stephen Wilkes, director of Jay Myself, an ode to the life and career of his mentor, photographer and artist Jay Maisel.
The Giverny Document demands attention, and even if the attention it does receive ends up in the limited availability of a museum, the format cannot be more appropriate.
Upheld by two zestful leads, and polished production design, Lying and Stealing is almost the real thing, but oversells its value.
Days of the Whale is a wonderfully engaging and weighted debut by Catalina Arroyave, showing she’s a filmmaker to watch out for.
The Oscar-nominated Never Look Away shows signs of promise, but is let down by an epic scale that is never justified. Alistair Ryder reviews.
The Colour of Pomegranates is not only a window into the age of silent cinema, transplanted to 1969 but a window into a new way of thinking.
One of the grand allures of cinema is its ability to transport us to different…
Art is inseparable from death. This is one of the main conclusions of Abel Ferrara’s meditation on the always controversial Pier Paolo Pasolini.
For being his directorial debut, Milorad Krstić’s Ruben Brandt, Collector is an astounding example of how boundless the animation medium has become.
Female Human Animal is a unique experiment into pushing the boundaries of what is considered to be fact or fiction.
The lesson of Frank is that mental illness is a hindrance, not a gift of inspiration, and romanticising it is a dangerous road to go down.
Michael Franti’s Stay Human is an inspiring documentary of pure positivity and something worth recommending to everybody right now.
Dan Gilroy has stepped out of his comfort zone with satirical horror Velvet Buzzsaw – and the results are mixed, to say the least.