The fact that only two German films were selected to compete at the 75th Berlinale raised some eyebrows and sparked interest in the pair of sophomore features that received the distinction over new works from higher-profile filmmakers like Tom Tykwer...
Each week we highlight the noteworthy titles that have recently hit streaming platforms in the United States. Check out this week’s selections below and past round-ups here. The Brutalist (Brady Corbet) Brady Corbet’s long-gestating architecture epic looks and feels as painstakingly...
NYC Weekend Watch is our weekly round-up of repertory offerings. IFC CenterHideaki Anno’s Love & Pop plays in a new restoration; Herzog’s Nosferatu, Mulholland Dr., Funeral Parade of Roses, The Thing, and Irreversible show late. Roxy CinemaSaturday brings Bruce LaBruce introducing Ciao! Manhattan and...
In one of many well-executed nods to Once Upon a Time in Hollywood, Cinerama-style red and blue credits play over a black screen to sizzling ’60s surf rock, a whiff of violent glee in the air. Suddenly, we smash-open inside...
A security android struggles with emotions and free will while balancing dangerous missions and desire for isolation, evading detection of its self-hacking as it finds its place. [Read the whole post on screenanarchy.com...]
Dawn in a desert. A body in the sand. Is it a corpse? No, it's Tom, a tennis bum recovering from another night of debauchery. The Canary Islands resort where he gives lessons gleams in the distance. The clever opening...
The through line of the film is rooted in an ancestral grudge that’s easily rekindled. The post ‘Kontinental ’25’ Review: Radu Jude’s Biting Look at a Nation Haunted by the Spectres of History appeared first on Slant Magazine.
There was Dewey Finn, Ned Schneebly, Willoughby, Mason Evans Sr.––now there’s Lorenz (or Larry) Hart. Richard Linklater likes a certain type of guy, and maybe these features come across too infrequently in his female characters: charismatic, voluble, verbose, enthusiastic as...
Not a single image of warfare can be found in Ukranian director Kateryna Gornostai’s Timestamp, but the irrevocable effect of Russia’s unjustified invasion of her country can be felt in every expression, utterance, and the overwhelming destruction left behind. Shot...