grief
A multilayered depiction, Good Grief delivers on what its title promises and audiences will find they are richer in experience for it.
The Queerly Ever After column celebrates its 50th entry with Christophe Honoré’s 2007 film Love Songs (Les Chansons D’Amour).
Film inquiry had the chance to speak with Vaughn Stein, the director of Every Breath You Take, a deep character study in disconnected yet shared grief.
While a bumpy ride to the end, it is an intriguing character study that examines grief and loneliness while infusing intensity and thrills.
Xavier Beauvois’ Albatros starts off as a low-key police procedural drama before transforming into a generic meditation on guilt and grief.
Because the two seasons are about two very different ideas of death, these horror elements had to be presented in starkly different fashions.
The Goldfinch is not a secret masterpiece, but it is good, beautiful even, and is worthy of revisiting and re-evaluation.
Made in Italy is a fine film to cozy up to, as long as you can overlook the awkwardness and lack of narrative development it presents at times to audiences.
Anchored by Sigurdsson’s striking performance, A White, White Day explores the aftermath of a life and a marriage with an intensely introspective eye.
We were able to speak with actors Rebecca Hall, Stacy Martin, and Evan Jonigkeit, and director David Bruckner from the film The Night House.
A New Christmas may not be the best thing to find under your tree, but it’s still a nice treat.
There are plenty of reasons to recommend Wang Xiaoshuai’s So Long, My Son, but the greatness is infuriatingly just out of grasp.
Porco Rosso is a film beaming with silliness and warmth, while also being tied and grounded in a particular human timeframe like very few Miyazaki movies can boast to have.
Waves is an exquisitely crafted piece of art that solidifies Shults as a force to be reckoned with.
John Crowley’s adaptation of The Goldfinch lets down its source material and is, above it all, limp Oscar-bait.