Interview: Kôji Fukada on the Mysteries of ‘A Girl Missing’
Marshall Shaffer Interviews ‘A Girl Missing’ Director Kôji Fukada
The Past Dreamed the Future Present: Derek Jarman’s ‘Jubilee’
“Jarman’s mix of time, history, memory, fantasy and dreams in ‘Jubilee’ is ultimately a hopeful warning for the future.”
Dreams and Horrors in Bohemia: ‘Marketa Lazarová’ and ‘Valerie and Her Week of Wonders’
“As much as I love a good story, the best movies always transport me, in an intangible sense, through the base elements.”
‘Black Peter’ and the Wayward Path to Manhood
“As a character study, Miloš Forman’s feature directorial debut presents a realistic vision of a boy’s attempt to come of age; a path full of setbacks without a tidy resolution.”
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 ‘Bloody Nose, Empty Pockets’ Filmmaker Turner Ross
Dominic Erickson Interviews ‘Bloody Nose, Empty Pockets’ Filmmaker Turner Ross
An Interview with ‘Eeb Allay Ooo!’ Director Prateek Vats
Dipankar Sarkar Interviews ‘Eeb Allay Ooo!’ Director Prateek Vats
Review: Bong Joon-ho’s ‘Parasite’ (Black and White Edition)
“The black and white edition of ‘Parasite’ is a gift, and the real beacon shining brightly in the dark.”
Review: Dave Franco’s ‘The Rental’
“The ideas present are intriguing, however The Rental’s ultimate staying power is questionable.”
Review: Joko Anwar’s ‘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.”
An Interview with ‘Nasir’ Writer-Director Arun Karthick
Dipankar Sarkar Interviews ‘Nasir’ Writer-Director Arun Karthick
Lodge Kerrigan’s ‘Clean, Shaven’ and the Cinematic Virtue of Empathy
“‘Clean, Shaven’ depicts a culture in which there is little empathy for the mentally ill, perhaps because it is a culture influenced by fictional portrayals in which people like Peter are predominately unfeeling mad killers.”
Review: Natalie Erika James’ ‘Relic’
“A haunting study of Grecian prophecies and inherited mental illness, ‘Relic’ makes beasts of the mind.”
A Stirring Tale of Friendship: Kelly Reichardt’s ‘First Cow’
“Behold the elegance and oft-cited aesthetic minimalism with which Reichardt unfolds so many thoughts and ideas about race, representation and gender.”
Review: Aaron Schneider’s ‘Greyhound’
“Greyhound’s inability to venture further into the depths of wartime psychology leaves it susceptible to being forgotten just as quickly as it emerged.”
Review: Natalie Erika James’ ‘Relic’
“James’ arresting, emotional and attention-grabbing film understands that what’s most frightening is barely glimpsed and feels disarmingly normal.”
Understanding Nobuhiko Ōbayashi: From ‘House’ to ‘Hanagatami’
“No director has been able to replicate Nobuhiko Ōbayashi’s iridescent, hallucinatory and infectious passion for film.”
‘But I’m a Cheerleader’: Celebrating 20 Years of Style and Sincerity
“In cinema, it’s tough to depict sincerity without it coming across as contrived or sickly-sweet, but it’s a feeling that myself and many others yearn for, especially when it comes together as beautifully as it does in ‘But I’m a Cheerleader.'”
Review: Jeffrey A. Brown’s ‘The Beach House’
“‘The Beach House’ signals an exciting new star in horror.”
Review: Boaz Yakin’s ‘Aviva’
“Aviva and Eden’s dances — together and apart — mobilize Yakin’s film, and function as bodily mirrors and emotional mirages; gain and loss, self and love.”