Almost Human

Jun 1, 2017 — Suffused with a quiet radiance, this Kazakh New Wave masterpiece grapples with cultural displacement through an allegorical tale of vengeance.

May 31, 2017 — New Taiwan Cinema master Edward Yang’s sophomore feature explores the conflict between tradition and modernity reflected in a relationship on the rocks.

May 31, 2017 — Director Terry Zwigoff shares his own musical taste in this article about how he went about selecting songs to underscore the deadpan tone of his cult comedy Ghost World.

May 31, 2017 — Long difficult to see, this transgressive silent masterpiece draws on a wide range of aesthetic influences to push against the boundaries of film form.

May 30, 2017 — Now that the Cannes Film Festival has wrapped, we’ve got some catching up to do. Let’s begin with Scout Tafoya’s report for the Village Voice on a recent symposium “on film criticism and scholarship commemorating the legacy of German film...

May 27, 2017 — “Some filmmakers rust during periods of inactivity,” begins Guy Lodge in Variety. “Lynne Ramsay arches and tenses, lying in wait like an attack dog. And attack she does, though not in all the expected ways, in her astonishing fourth feature...

May 26, 2017 — “After a foray into relatively restrained period filmmaking in the recent, World War I-set Frantz, François Ozon is back to his old tricks—and really, who's complaining?” asks Jon Frosch in the Hollywood Reporter. “Premiering in competition at Cannes, the French...

May 25, 2017 — “The act of seeing has a special meaning in Japanese director Naomi Kawase’s Radiance, in which the job of character Misako (Ayame Misaki) is to write the scripts for the audio-assist provided for blind patrons at the movies,” writes Barbara...

May 24, 2017 — “Sofia Coppola delivers a very enjoyable southern melodrama, the tale of a handsome, badly wounded Union soldier in enemy terrain during the American civil war who throws himself on the mercy of a ladies’ seminary—of all the outrageous things.” The...

May 23, 2017 — In one of the first major films to confront the contemporary refugee crisis in Europe, Jacques Audiard brings a genre-busting approach to an explosive subject.