Screen Anarchy

Oliver Laxe talks about fear, faith, and the physical limits he believes cinema must still be willing to cross. [Read the whole post on screenanarchy.com...]

We have been fans of director Adrián García Bogliano ever since his films Cold Sweat (reviewed here) and Here Comes the Devil (reviewed here), so we consider it good news when a new film by him comes out. Yesterday, the...

Writer-director NB Mager's debut feature stars Alyssa Marvin, Patrick Wilson, Margaret Cho, Sophia Torres, Elizabeth Marvel, and Molly Ringwald. [Read the whole post on screenanarchy.com...]

Ikuto and Ryoma meet in juvenile detention and become best friends. They pursue their dream of participating in the martial arts event Breaking Down. However, rivalries soon turn their dreams into unexpected conflicts. [Read the whole post on screenanarchy.com...]

In the winter of 1982, three American boys find themselves stranded in a cable car with a dead body, suspended midair in the mountains of Norway during a rare celestial event. [Read the whole post on screenanarchy.com...]

Mascha Schilinski's film moves fluidly across time, perspective, and inner states, positioning itself as a rigorously authored work. [Read the whole post on screenanarchy.com...]

NEON is releasing Genki Kawarmura's thriller, the live-action adaptation of the popular video game, this April. [Read the whole post on screenanarchy.com...]

Pakistani cinema has been shaped by both veteran and emerging filmmakers, whose contrasting approaches to style and storytelling define the industry today. While pioneers worked within technical and structural constraints to establish cinematic traditions, the new generation is pushing boundaries...

While many films (and art in general) grapple with the question of what it means to be human, science fiction offers the tropes and syntax to make that question more palpable, or give means to approach it from an atypical...

Drawing on unprecedented access to Leni Riefenstahl's estate, Andres Veiel reflects on the long ethical labour of archival authorship, the filmmaker's complicity with power, and why confronting fascist imagery requires intellectual proximity rather than historical distance. [Read the whole post...