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Dhurandhar: The Revenge

Better Parts

The Daily

May 22, 2026 This week brings a look back at Cronenberg’s Crash and conversations with Boots Riley and Wallace Shawn.

Jan 20, 2026 A smash hit at the box office, this electrifying adventure film established the team of director Michael Curtiz and actors Errol Flynn and Olivia de Havilland as one of the most iconic creative partnerships in Hollywood.

Sep 12, 2024 Chime, a French remake of Serpent’s Path, and Japan’s Oscar submission, Cloud, have all premiered within months of each other.

Nov 1, 2022 In one of the most incendiary and formally experimental films of the Czechoslovak New Wave, two mysterious young women uncover humanity’s endless potential for revolt.

Feb 24, 2021 He never really pushes that cart, does he? Despite the film’s title, Ahmad (Ahmad Razvi), the mournfully persistent protagonist of Ramin Bahrani’s 2005 debut feature, Man Push Cart, is almost always seen pulling his cart through the nighttime streets of...

Nov 26, 2018 The Magnificent Ambersons “Plus one and minus one equal nothing. So you mean I’m nothing in particular?” —Isabel “Remember you very well indeed.” —George “George, you never saw me before in your life!” —Eugene What is this cult I signed up...

Mar 10, 2021 For about five minutes in Alan J. Pakula’s The Parallax View, the lights go down on our movie and we’re shown another—an increasingly deranged propaganda short designed to suss out whether someone is Parallax material. That is to say, an...

Jul 1, 2025 Made nearly two decades into Fritz Lang’s Hollywood career, this brutal noir is designed for maximum velocity and impact, eschewing the director’s accustomed flourishes in favor of a stark literalness.

Plymptopia

Features

Sep 1, 2020 It’s not impossible to be a lazy, shrug-it-off filmmaker, just as it isn’t to be a lazy painter or novelist, or, more to the point, a lazy comic artist, drawing each picture merely once and then moving on. (You could...

Aug 16, 2022 The big winners at the festival’s seventy-fifth edition were Julia Murat and first-time director Valentina Maurel.

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