Review: Paul Etheredge’s ‘The Other’
“‘The Other’ is a massive technical achievement with some real heart, and Etheredge fortunately avoids bland metaphors about racism.”
An Interview with ‘Alappuzha Gymkhana’ Filmmaker Khalid Rahman
‘Alappuzha Gymkhana’ Interview: Dipankar Sarkar discusses the 2025 movie with filmmaker Khalid Rahman.
Review: James Gunn’s ‘Superman’
“Gunn’s first ‘Superman’ outing makes the grade.”
Review: Morihito Inoue’s ‘Hotspring Sharkattack’
“There’s a madcap charm to ‘Hotspring Sharkattack,’ a real sense of DIY ingenuity and, crucially, fun, which makes the film impossible to resist.”
Tightrope Walker: Dirk Bogarde’s Post-War Rebellion
“Rejection is the purest form of rebellion. Bogarde was never embraced by Hollywood in large part because ambivalence is not a bankable asset. He left too many questions unanswered.”
An Interview with ‘Kaisi Ye Paheli’ Filmmaker Ananyabrata Chakravorty
‘Kaisi Ye Paheli’ Interview: Dipankar Sarkar discusses the 2025 movie with filmmaker Ananyabrata Chakravorty.
Open Roads: New Italian Cinema Review – Francesca Comencini’s ‘The Time It Takes’
“Cinematic productions like ‘The Time It Takes’ show that theatrical movies can have a profound effect on people who want to know more about the medium and the craft of filmmaking.”
Building the New Queer Canon #4: Louise Weard’s ‘Castration Movie’
“Weard’s anthology series is shaping up to be one of the decade’s most impactful queer texts.”
An Interview with ‘Crazxy’ Filmmaker Girish Kohli
‘Crazxy’ Interview: Dipankar Sarkar discusses the 2025 movie with filmmaker Girish Kohli.
Short Film Review: Laura Checkoway’s ‘The Cat Man Eshete’
“‘The Cat Man Eshete’ is more of a psychological character study — one worthy of repeat viewings, especially for immigrants — than a traditional documentary short about trauma and redemption.”
Review: Christopher Smith’s ‘Consecration’
“‘Consecration’ is a disjointed affair with sparks of interest scattered throughout that nonetheless ends up as a middling entry into the newly popular religious horror sub-genre.”
Saving Seconds of Time: On Rachel Elizabeth Seed’s ‘A Photographic Memory’
“Some minor continuity issues in ‘A Photographic Memory’ point to the first-time director’s lack of experience, yet they oddly work in favor of the established mood and tone via the (mostly) outstanding editing.”
Review: Sean Byrne’s ‘Dangerous Animals’
“Byrne paces ‘Dangerous Animals’ perfectly, hitting all the scariest beats with the requisite care and attention to detail…”
An Interview with ‘The Elysian Field’ Filmmaker Pradip Kurbah
‘The Elysian Field’ Interview: Dipankar Sarkar discusses the 2025 movie with filmmaker Pradip Kurbah.
The Restoration of Marva Nabili’s ‘The Sealed Soil’ Unearths a Gem of Women-Centric Cinema in Iran
“Nabili’s ‘The Sealed Soil’ can be seen as a precursor of the minimalist styles that came to define so much of modern Iranian cinema.”
Review: Tom DeNucci, Seth Koch and Rick Lazes’ ‘Knock Out Blonde: The Kellie Maloney Story’
“‘Knock Out Blonde’ isn’t the kind of documentary that wants to paint a complicated picture of its subject — which, paradoxically, would be the kind of boundary-pushing representation we need now.”
‘All Happy Families’ Review – A Gently Chaotic Portrait of Multigenerational Family Life in Chicago
“‘All Happy Families’ is a warm family drama. What the film lacks in originality, it makes up for in sincerity.”
‘Pavements’ Review: Director Alex Ross Perry Innovates Rock Doc Cinema for the Future
“Perry fully (and successfully) commits to various comedic bits in ‘Pavements’ while documenting Pavement’s 1999 break-up and eventual 2022 reunion.”
Review: Cazzie David and Elisa Kalani’s ‘I Love You Forever’
“In ‘I Love You Forever,’ David and Kalani have their fingers firmly on the pulse of the current zeitgeist, injecting a much-needed youthful zest into a well-worn genre with an artful eye and incisive wit.”
Review: Mickey Keating’s ‘Invader’
“What sets ‘Invader’ apart from more conventional stalker horror films is its feverish aesthetic that owes more to the manic energy of 1970s and 80s exploitation cinema than modern genre trends.”