Steve Erickson
“No Other Choice”’s South Korea looks as if it is steadily transforming into a home more fit for robots — manning the sawmills of capitalism — than humans.
It can’t be denied that “Marty Supreme” is effective as a wild trip. It’s an immersive experience — not an analysis of its self-adoring anti-hero.
It’s a bad sign that such an entertaining and visually stunning film, shot in CinemaScope, couldn’t play in theaters in this country.
Like other Eastern European artists, Radu Jude is at his best channeling his anger through dark comedy.
“The Mastermind” points to the impossibility of trying to live as though the outside world and its politics don’t exist.
Because NYFF’s “Revivals” supplement showcases new restorations, the expectation is that these movies, including art films from around the world, should become more widely available down the road.
Despite its abrasive style, “Plainclothes” leaves no doubt about what is going to happen or what is meant to be its takeaway message.
Grief and generational trauma have become the horror movie villains of our time, taking the spot once occupied by masked killers.
Kiyoshi Kurosawa’s return to form might be explained by his looking backward: the director has chosen to grapple with the fact that many of the pessimistic prophecies of his earlier films have come true.
No one argues about Israel or Hamas, or even mentions the words. All the same, caring this much about Palestinians’ lives is inherently political.
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