Green Eyes, They’re Crying: Maury Mines Sorrow in Tragicomic Debut
Actor Nicolas Maury crafts his own starring vehicle in My Best Part (Garçon chiffon) as...
Summertime Sadness: Ozon Casts Yonder Glance at the Boys of Summer
Rare is the year without a fresh offering from perennial French favorite François Ozon,...
And Who Shall Be Able to Stand?: Žbanić Returns to Srebrenica in Harrowing Account of Bosniak Genocide
If cinema has any responsibility as an artform,...
Battle of the Bilk: Blakeson Returns with Topical Con Comedy
“There’s no such thing as good people,” croons the dulcet Rosamund Pike over the opening...
Walking & Talking: Green Dons Didactic in Heartfelt, Sentimental Social Issue Drama
Representation of thought processes and progressive epiphanies are the necessary conjunction with diversity,...
Ballad of a Rolling Stone: Zhao Basks in the Beatitude of America’s Heartland
Director Chloé Zhao follows up her critically acclaimed 2018 sophomore feature The...
One of the brighter notes in world cinema circa year one of the pandemic, Dea Kulumbegashvili's directorial debut (an official entry for Georgia for...
Carpet Burn: Kulumbegashvili Unnerves with Exacting Debut of Violence and Veneration
For decades, the international presence of Georgian cinema was thanks (mostly) to the output...
Mother Has Arrived: Kawase Returns with Intersecting Drama on Motherhood
Recently, Naomi Kawase, a staple amongst arthouse enthusiasts of Japanese cinema, has been drifting ever...
Brink of Life: Mundruczó Hunts for the Grace in Grief with English Language Debut
One of Hungary’s most prolific arthouse auteurs of the last decade...
The Libation Bearers: Vinterberg Explores a Collective Mid-life Crisis in Boozy Black Comedy
Thomas Vinterberg returns to his favored motifs, experimental behavioral portraits of Danish...
The Shell Seekers: Lee Recuperates a Scientist’s Legacy in Languid Love Story
As its title suggests, Ammonite, the sophomore feature from burgeoning director Francis Lee,...