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Feb 16, 2018 — “The responsibility of being a gay film critic,” writes Michael Koresky, “to borrow a phrase from the great Robin Wood, is to be honest about your responses as an individualized viewer, and to balance questions around identity with a film’s...

Feb 15, 2018 — Think of The Grand Budapest Hotel (2014) and pink pastels, purple uniforms, and the occasional splash of red may come to mind, offset by the ochres and faded wood grains of the scenes that frame the main story. Moonrise Kingdom...

Feb 15, 2018 — First up, that's Robert Pattinson in the image up there, the first, released just today, from Claire Denis’s High Life. Secondly, Ioncinema’s countdown of the most anticipated American independent films of 2019—again, twenty-nineteen—continues with notes on Shane Carruth’s The Modern...

Feb 15, 2018 — Three formally daring short works by Chantal Akerman will play in a monthlong retrospective of the director’s work at the Cinémathèque française.

Feb 14, 2018 — With her acclaimed new film Western opening in theaters this week, we spoke with German director Valeska Grisebach on the romantic ideals of the quintessential American genre.

Feb 14, 2018 — Until the Oscars are presented on March 4, it’s not yet too late to be looking back at the best of 2017. The Village Voice has polled over a hundred critics, and Phantom Thread has come out on top with...

Feb 13, 2018 — With the scrappiest of means, George A. Romero created not only a landmark of independent cinema but also an indelible portrait of America as hellscape.

Feb 13, 2018 — Lucrecia Martel was at the International Film Festival Rotterdam this year not only to present Zama but also to deliver a masterclass. Giovanni Marchini Camia was there, and reports for Filmmaker: To illustrate her conception of mise en scène, Martel...

Feb 12, 2018 — In “Twin Peaks: The Return, or What Isn’t Cinema?,” a four-part essay at Reverse Shot, Nick Pinkerton first stakes out a position. Referring to one of Marcel Duchamp’s most famous pieces, he writes: “For a hundred years now it’s been...

Feb 12, 2018 — Icelandic composer, musician, and producer Jóhann Jóhannsson is gone too early at the age of forty-eight. “Known for compositions that often blended electronics with classical orchestrations, Jóhannsson credits include the Golden Globe-winning score for 2015’s The Theory of Everything,” writes...