Lorena Alvarado's debut feature is a quasi-docufiction exploration of the joys of artistic discovery, with faint hints of darkness at its periphery

Ingmar Bergman is a director whose distinctiveness is never in doubt, no matter how one is inclined to receive his works.

It’s always a bit of a bummer when you enjoy a film less the second time you watch it.

Ildikó Enyedi’s ambitious meditation on the mystery of humanity's connection with nature is a touch meandering, but impresses with its spiritual and conceptual depth

Ghassan Salhab's discursive rendering of post civil war Beirut shows us a picture of an (ex)community in limbo, shaken up by the reappearance of an old comrade

Francesco Sossai's road comedy evokes the melancholic aimlessness of its lost generation protagonists with its loosely structured bar-hopping misadventures

Radu Jude's latest puts its grave subject matter in juxtaposition with absurd and humorous digressions, leaving viewers to ponder the lack of solace offered to its protagonist

Rohmer's seasonal adventure is slight but still characteristically meticulous in its effects.

Hong Sang-soo just keeps getting away with it!

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Despite some fringe benefits, Maggie Gyllenhaal's The Bride! remains uninspiring and facile in its depiction of social resistance

You know something bad's about to happen in Sirat, but is that the whole point?

Mikio Naruse's 1953 drama is a highly polished representation of the family dramas that form the bedrock of his directorial reputation

Jocelyne Saab's films reckon with the plight of Beirut and Lebanon during the civil war in a poetic and vivid way

Also known as Hurlevent.

Sam Raimi's b-movie confection is a nice treat, but rather disposable

Mascha Schilinski's second feature is a morbid, harrowing exploration of trauma recurring across generations

Dear Reader,

James L. Brooks' latest is a refreshing dose of sincerity within a wave of studio cynicism

Vince Gilligan's new show kicks off with a two episodes directed by Gilligan himself

The first surviving feature film directed by an Iranian women explores the tension between documentary and fiction within a thematic framework of subtle rebellion

Joachim Trier's new film feels unpromising and bland on first brush, but becomes oddly compelling as its surprisingly innovative structure is revealed

Two Portuguese films each provide powerful and empathetic portraits of the communities they observe

Yorgos Lanthimos' absurdist psychothriller is impeccably made, but the film works toward vile and grotesque ends

Richard Linklater's biopic of the lyricist Lorenz Hart is conceptually intriguing but hampered by its grating and simplistic characterization of its subject.

Mary Bronstein's psychothriller is a messy but admirable effort to portray the stresses put upon caretakers and mothers

The once-obscure films of Kira Muratova, now available on Criterion Channel, provide an intriguing glimpse into late-Soviet period cinema

Paul Thomas Anderson makes a decent enough action flick, but aspirations to intellectual seriousness are hampered by shoddy, lazy character writing

The new film from Michael Angelo Covino is good for a few shock-comedy laughs, but the humor feels glib and shallow when paired with the otherwise standard marital drama at its core

A pleasant enough trifle that just doesn't seem worth making a whole movie about

Aronofsky's latest is a Hitchcockian pastiche suffering from a fatal lack of plausibility

Spike Lee's is a riveting career victory lap, but shares in the didactic flaws of the original upon which it is based.

Shinji Somai's death-haunted youth film is at once somber and charmingly whimsical, though sometimes a bit awkward and disjointed.

Assayas' COVID reflections suffer from a lack of cohesion despite a promisingly pared-down approach

Hong's penchant for minute observations and structural ingenuity butts up against his late-career vibeshift to mixed effect.

Ari Aster's latest is a pandering, uninspiring critique of COVID era America wrapped inside an unpalatably clunky genre film shell.

In lieu of a derivative grief narrative, director Courtney Stephens presents something more vital: a wistful investigation of the tangible and intangible things that a deceased father has left behind

Kiyoshi Kurosawa's latest is a solid, precise psycho-thriller despite some head-scratching plotting

Upcoming screenings of Rosa la Rose, Fille Publique provide an occasion for more filmgoers to discover the invigorating work of director Paul Vecchiali

Podcast · Aret Frost, Tony Huang, Ryan Swen · In Plain Sight is a podcast dedicated to examining some of our favorite directors who, maybe, don’t get the kind of recognition they deserve.

Danny Boyle's kinetic franchise entry work well enough when it's moving, and dies as soon as it stops.

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Celine Song's follow up to Past Lives is a step forward in directorial confidence, but suffers from issues with casting, dramatic urgency.

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Roberto Minervini explores subcommunities at the fringes of American society in Low Tide and Stop the Pounding Heart.

The scheming industrialist at the center of The Phoenician Scheme gives Wes Anderson’s recent style a new emotional logic.

Acropolis Cinema is an itinerant screening series bringing classic and contemporary experimental, international, and undistributed films to Los Angeles.

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Yoko Yamanaka's sophomore feature is a wild, turbulent record of all the jagged edges of humanity.