Favoriten (2024), Ruth Beckermann’s latest, rolls production titles over a series of children’s drawings of buildings. Following a nigh universal youthful design scheme, the…
“What is time except to curve past and present around us?” Cesar Catiina (Adam Driver) asks the January 6-coded throng demanding his Megalopolis be…
At age six, Francis Ford Coppola waited for a Tucker Torpedo to arrive in his driveway. His grandfather, Agostino, was among Hollywood’s first generation…
Pablo Marín’s cinema can be deceptively simple and deceptively complex. Having worked exclusively on 8 and 16mm celluloid, the Argentinian filmmaker has gravitated, as…
Antoinetta Angelidi’s filmography is composed of five films across five decades, stretching back to Idées Fixes/Dies Irae in 1977. Over the subsequent half century,…
We Don’t Talk Like We Used To, the title of Joshua Gen Solondz’s latest film, has a few potential meanings to account for. The…
When I worked the film scanner at a home media transfer house, among the foremost moldy delights I could regularly expect to find on…
Before He Thought He Died (2023), a friend spoke on his misgivings about 88:88 (2016), Isaiah Medina’s hitherto best-known film, echoing sentiments that sounded…
Essential to the success of any siege film is some greater absorption of the concept of walls breaking down. One shudders just thinking about…