An Interview With ‘Tales from Our Childhood’ Director Mukul Haloi
Dipankar Sarkar Interviews ‘Tales from Our Childhood’ Director Mukul Haloi
The Cinematic Lineage of Quentin Dupieux’s ‘Deerskin’
“Deerskinโs methodology might be new, but the central tenets of its 77 minutes are part of the same cinematic heritage that created Jim McBrideโs indie darling ‘David Holzmanโs Diary’ (1967) and Krzysztof Kieslowskiโs ‘Camera Buff’ (1979).”
Review: Peter Medak’s ‘The Ghost of Peter Sellers’
“If failure is the greatest teacher, then Peter Medak has earned his doctorate with ‘The Ghost of Peter Sellers.'”
Sion Sonoโs ‘Tokyo Vampire Hotel’ Is Trauma Porn, and Maybe Thatโs OK
“The most remarkable feature of ‘Tokyo Vampire Hotel’ is its timeliness. Though the series was released in 2017, it takes place in 2021, and something about it feels distinctly ‘2020s,’ distinctly of the cinema to come, if not distinctly of 2020 and the present moment.”
One Tough Nun: Spiritual Awakening in Isabel Sandoval’s ‘Aparisyon’
“Itโs a fascinating experience to see ‘Aparisyon’ via Locarnoโs ‘Open Doors’ strand, where it is presented as a key work in understanding contemporary Filipino cinema.”
Review: Scott Crawford’s โCREEM: Americaโs Only Rock โnโ Roll Magazineโ
“There was nothing else like ‘CREEM’ back then, and thereโs still nothing like it now. Thatโs not only a testament to the importance of the magazine, itโs also a sad commentary on whatโs lacking in modern music criticism.”
Interview: Kรดji Fukada on the Mysteries of ‘A Girl Missing’
Marshall Shaffer Interviews ‘A Girl Missing’ Director Kรดji Fukada
Different Places: Jeffrey McHaleโs ‘You Donโt Nomi’ Dances with the Legacy of ‘Showgirls’
“I was taken with You Donโt Nomi’sย comfortable attitude toward the complexity and ambiguity of a text that can support and sustain such wildly opposite readings.”
Review: Lynne Ramsayโs ‘Brigitte’
“‘Brigitte’ is a slight and sweet addition to Ramsayโs catalogue, and it gently leaves its impressions.”
Review: Claire Oakley’s ‘Make Up’
“When ‘Make Up’ reaches the light at the end of its twisted tunnel, its culmination is gratifying and sumptuously-realised.”
An Interview with ‘Eeb Allay Ooo!’ Director Prateek Vats
Dipankar Sarkar Interviews ‘Eeb Allay Ooo!’ Director Prateek Vats
Review: Bong Joon-hoโs โParasiteโ (Black and White Edition)
“The black and white edition of ‘Parasite’ is a gift, and the real beacon shining brightly in the dark.”
Review: Joko Anwarโs ‘Impetigore’
“Indonesian horror has been gradually finding its feet over the past few years, and ‘Impetigore’ shows that we’ve barely even scratched the surface.”
Exploring Gender in Masaaki Yuasa’s ‘The Night Is Short, Walk on Girl’
“‘The Night Is Short, Walk on Girl’ feels like an inadvertent political statement, a continuation of the status quo in the romantic comedy genre. Still, there is something there.”
Understanding Nobuhiko ลbayashi: From ‘House’ to ‘Hanagatami’
“No director has been able to replicate Nobuhiko ลbayashi’sย iridescent, hallucinatory and ย infectious passion for film.”
Review: Jeffrey A. Brownโs ‘The Beach House’
“‘The Beach House’ย signals an exciting new star in horror.”
Review: Shannon Murphy’s ‘Babyteeth’
“Much of Babyteeth’s vitality can be located in the way each of the central characters is so fully realized.”
Review: Ina Weisse’s ‘The Auditionโ
“‘The Audition’ considers how we navigate the middle space between power and powerlessness, and Hossโ performance, whether sheโs yearning for affection or responsible for staggering brutality, is the filmโs greatest asset.”
Review: Abel Ferrara’s ‘Tommaso’
“‘Tommaso’ shows Ferrara taking his career in a new direction, and it’s nice to see someone of his stature still making innovative, daring films.”
Interview: Jeremy Gardner, Christian Stella and Justin Benson on ‘After Midnight’
Leslie Hatton Interviews ‘After Midnight’ Filmmakers Jeremy Gardner, Christian Stella and Justin Benson