Spain
The film flounders in its overly long crawl but makes up for it in a repulsive final twist.
Identifying Features takes time to get going but successfully wagers the audience’s patience with a terrifying finale that lingers long after the credits.
4×4 is a broodingly effective thriller set in the crime-riddled streets of Argentina, with poignant thoughtfulness for the characters involved.
The Mystery of the Pink Flamingo embodies the spirit of its subject in wonderfully weird ways that entertain.
Though not without its flaws, Wonder Woman 1984 proves to be a worthy and striking follow-up to an already great prequel.
Buñuel in the Labyrinth of the Turtles offers a peek into the mind of one of the most influential artists of the surrealist movement.
The beautiful boldness of The Human Voice makes it clear that Pedro Almodóvar and Tilda Swinton are a match made in film lover’s heaven.
As lovely as the works of Eric Rohmer, The August Film is a perfect summer film for thirtysomethings who have not yet found themselves.
Alex Lines spois with director Iván Castell about his latest music revival documentary The Rose of the Synths.
The Platform is intriguing enough to reel in viewers who aren’t there just for its depravity, but unfortunately it fumbles developing anything further.
Fire Will Come has the market cornered on the artistry, but for all its technical skill, it comes up short, both in length and in content.
Klaus captures the old fashioned wonder of Christmas within the old fashioned splendor of traditional animation.
Despite Nat Wolff’s outstanding performance, those interseted in The Kill Team are better off sticking with the documentary.
Just as Mallo does in the film’s final moments, Almodóvar reaches into the past to find new ways to create, to evolve, and eventually, find glory from pain.
Above all, Pedro Almódovar’s latest film Pain and Glory is a semi-autobiographical trilogy and a love letter to cinema.