women directors
Euphoria has something important to say and has good ideas in its grasp but can never look them in the eye.
Told from a female perspective, and benefitting from a seminal performance by Daisy Ridley, Ophelia rewrites history in a more favorable light.
Much like life itself, Dominga Sotomayor’s Too Late to Die Young is a meandering, seemingly directionless tale but no less enrapturing for it.
Heady problems My Days of Mercy’s characters through the wringer, but the clarity with which they are captured makes the difficult journey more poignant.
With the strength in its original script and performances, Bite Me is an incredibly refreshing rom-com that has a lot to say about today’s world.
Pause examines the life of a woman trapped in an unhappy marriage, played with gusto by Stella Fyrogeni. Aaron Berry reviews.
While it would take the serious alienation, River of Grass has all of the seeds that would bloom into one of the 2000s greatest filmmakers.
Tell It to the Bees is a pretty dreary period piece, and one that doesn’t sit well in the current landscape of queer cinema.
About a Donkey embraces its identity, and allows its viewers to grasp this, but also infuses their own personal experiences within these character’s journeys.
The Beach Bum is a love letter to the unlikely beauty found in the gutters of Florida, the artsy stoner comedy only Harmony Korine could concoct.
Unicorn Store, Brie Larson’s directorial debut, marks the beginning of a new chapter in the multi-hyphenate’s career.
Out of Blue can’t be faulted for its ambitions, but there’s a lack of focus, oscillating wildly between genres and never satisfying as any.
Lynne Ramsay has been honored and recognized by critics and awards around the world. So why does it seem as though Hollywood refuses to recognize her incredible work?
Across her four uncompromising features, Scottish director Lynne Ramsay has unsparingly invited us to the darkest recesses of the human condition.