The Sea and You

May 18, 2019 — Diop’s debut fiction feature is a love story, a detective story, and a ghost story.

Mar 30, 2018 — New York. “Today’s manliest movie stars—mostly buffed-up superheroes like your Chrises Hemsworth, Pratt, and Evans—are scientifically enlarged and formed by state-of-the-art training and diet regimens,” writes Vern in the Village Voice. “Guys like Steve McQueen, Lee Marvin, Charles Bronson, and...

Oct 10, 2017 — Two singing mermaid sisters take 1980s Poland by storm in this extravagantly mounted musical-horror hybrid.

Jun 2, 2017 — A new online quarterly, Film Colossus, has launched with an issue focusing on movie endings. Travis Bean cites Clayton Dillard’s interview with Apichatpong Weerasethakul that ran in Slant last year, specifically the Thai filmmaker’s observation that “there are really two...

Dec 7, 2017 — “After mining the American soul (Boogie Nights, There Will Be Blood, The Master) as brilliantly as any working director has in the last fifty years,” begins Robert Abele at TheWrap, “Paul Thomas Anderson moves to 1950’s England for Phantom Thread,...

Jul 17, 2017 — “Steven Spielberg laid claim to the Normandy beach landing,” begins Variety’s Peter Debruge, “Clint Eastwood owns Iwo Jima, and now, Christopher Nolan has authored the definitive cinematic version of Dunkirk. Unlike those other battles, however, this last was not a...

Oct 29, 2009 — In the spirit of the season, we asked a select coven of horror mavens (including a couple of our own) to write about their favorite Criterion scarefests. Chuck StephensEquinox: The Eyebrows of Mr. Asmodeus There are myriad ways into Equinox,...

Oct 16, 2006 — Screenwriter Carlos Cuarón delves into the character played by Astrid Hadad

Nov 10, 2020 — In the half-light of the opening shot of Girlfriends, a woman asks, “What are you doing?” and another responds, “Go back to sleep.” You could dismiss this as a bit of passing dialogue—or you could see in it a larger...

Jul 25, 2019 — My first three films—Angela, Personal Velocity, and The Ballad of Jack and Rose—are all mysteries of female identity, how it can be warped, destroyed, or saved, particularly in the context of family and sexual love. These films are highly charged...