France
Kompromat is a tense and gloomy character-driven thriller, loosely based on real events, and is an energetic ride that never lets up.
As a cinematic time capsule, A Woman Kills is worth (re)discovering… even if its most problematic aspects should be taken with a large grain of salt.
On this Inquiring Minds, we take on two Sundance films: Animalia & Divinity!
It’s impossible to not feel a bit existential after watching Millennium Mambo, and with a sumptuous new 4K restoration now available there’s no better time.
With Saint Omer Diop has delivered one of the most powerful and personal films of the year.
On this Away from the Hype, we look at the racy 1995 film: Showgirls.
In our latest report from the 2022 Heartland International Film Festival, Emily Wheeler reviews Dear Zoe, Corsage, Close and Me Little Me!
On some level, it feels like a cinematic equivalent of the anti-establishment political cartoons that were once so pervasive in cultural discourse.
The London Film Festival rolls on. Our latest review round-up covers stories of real life…
This dispatch features two great films involving passionate love affairs — but, apart from that, they could not be more radically different.
In our first report from the 2022 Heartland International FilmFestival we give you a taste of the festival!
While most are probably familiar with The Square & Force Majeure, his most provocative, and ingenious work was his overlooked 2011 film Play.
Thriving upon Amalric’s sophisticated storytelling and Krieps’ propulsive performance, Hold Me Tight may be too formally ambitious for some.
In 1922, Robert J. Flaherty’s Nanook of the North, the first feature-length “documentary” came out to be a box-office success.
Noé’s split-screen theatrics allows for double the amount of decision-making, double the choreography, and the narrative trickery in Lux Æterna & Vortex.