The film matches stylistic experimentation with a multi-tiered narrative of equal ambition.
Philippe’s essay film is both dead-serious about its subjects and playfully exploratory.
To the film’s credit, Savage imbues the proceedings with a good deal of visual ingenuity.
To its credit, the film takes pains to point out that Middle Eastern powers aren’t a monolith.
For all of its talk about pushing boundaries, the film seems content to remain in the past.
The festival survived the trauma of lockdown to demonstrate impressive potential this year.
The film neither fully lampoons nor endorses standards for the art world’s political correctness.
Cohen Media Group will open Vadim Perelman’s latest on June 9.
Fast X is closer to fan fiction or self-parody than the real deal.
Wigon discusses the challenge of keeping a film interesting while confined to one location.
The film is an object lesson in what can result when art subordinates itself to a message.
This is a theatrical story told in a purposefully and self-consciously theatrical manner.
Jamie Sisley’s film looks at its serious subject matter through a maudlin lens.
The film captures the textures of a life that’s not defined solely by anti-trans oppression.
Baruchel and Howerton discuss how they worked within Matt Johnson’s unconventional style.
The film is a pointlessly complicated house of cards that crumbles due to its own hollowness.
The film is a dreary series of disconnected scenes that take weak potshots at niche topics.