The Swissmakers

Oct 8, 2024 — An otherworldly exploration of the realm between life and death, this horror masterpiece transcends its genre with its poetic, often unsettling use of fragmentation and discontinuity.

Sep 24, 2024 — Aaron Schimberg lives in New York. He made two commercially disastrous features, but the second one, Chained for Life, was well received by critics. A Different Man is his third film.

Sep 24, 2024 — A sceenwriter, novelist, and longtime friend of director Todd Solondz recalls the admiration he felt upon first seeing this audacious ensemble drama, which offers an unflinching, compassionate look at the pain and abjection of being human.

Aug 28, 2024 — United by a meditative approach that captures the spiritual bounty of the natural landscape and the tolls of physical labor, this Mexican director’s films challenge stereotypical depictions of his country’s rural communities.

Aug 27, 2024 — A brilliant satire, inspired by a 1973 PBS documentary series that gave rise to the reality-television genre, Albert Brooks’s first feature film examines the ethical dilemmas of combining cheap entertainment and sociological experiment.

Aug 22, 2024 — This year, Bologna’s annual feast of restorations and rediscoveries showcased one of the most ambitious masterpieces of the silent era, the melodramas of Japanese filmmaker Kozaburo Yoshimura, and other treasures of film history.

Aug 20, 2024 — In her formally daring debut feature, Martha Coolidge stages a confrontation with the subject of date rape that questions the kind of “closure” required in conventional storytelling.

Aug 16, 2024 — Jessica Pratt is a guitarist, singer, and songwriter based in Los Angeles, California. Her new album, Here in the Pitch, builds on the spectral folk of her previous albums, landing on a cinematic pop sound gesturing toward the Wrecking Crew,...

Aug 12, 2024 — The great actor creates an unforgettable portrait of a man worn down by the world in Tamara Jenkins’s darkly funny and deeply moving family drama.

Jul 29, 2024 — Made in an era when self-consciously postmodern takes on the Bard were popular, Gus Van Sant’s melancholy road movie mines the ambiguously queer tensions in the history play Henry IV.