Steve Erickson
The book’s final words offer hope for the future: “Despite the compromised nature of the trans film image of the past, there are many new horizons possible for the trans film image of the future, and that canvas, with all these images, will tell our story in cinema.”
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Director Monia Chokri finds a language for communicating Sophia’s desire without putting her body on display.
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Director Takashi Miike’s latest is a killjoy of a film: it doesn’t want to have fun with its material, but it’s impossible to take it seriously.
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The enthusiastic spirit of “Lost Soulz” is appealing enough to make what feels like two different types of movies sutured together dramatically satisfying.
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There is no denying that “Kidnapped”‘s warning about political authority abusing religion for its own accumulative ends resonates powerfully at this moment.
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Breezy as “Hit Man” is, there’s a sting to this romance’s tail.
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“Amar Singh Chamkila” doesn’t hit the compelling heights of “Highway” and “Tanasha,” but the director Imtiaz Ali successfully infuses — within the limits of the musical biopic — a buoyant, rebellious spirit.
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“Femme” proves that finessing the depiction of a toxic romance can lead to some ugly places.
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Noora Niasari’s personal involvement elevates “Shayda” above melodramatic Lifetime fare: this is a compellingly warm tribute to the Iranian director’s mother.
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The album’s layers of thick and swampy sound make Kim Gordon’s anxious point.
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Arts Remembrance: To Sérgio with Love — Sérgio Mendes, 1941–2024