Steve Erickson
“Caught by the Tides” eludes the narcissistic congratulation found in self-referential cinema because it absorbs Jia’s early work to create something that has the shock of the new, as much as it builds on the past.
Bruno Dumont has always been a divisive filmmaker, drawn to provocation, and the wacky sci-fi parody of the comedy-drama “The Empire” has proven to be no exception.
The apocalyptic overtones of the Mekons’ music come across as alarmingly real as ever.
Despite “The Annihilation of Fish”’s warmth and optimism, it’s a wonky film.
“Eephus” could’ve become a piece of conservative-leaning nostalgia but, to its credit, it refrains from making small-town sports great again.
In his debut feature, director Halfdan Ullmann Tøndel mistakes gratuitous strangeness for genuinely uncanny adventure.
More than the threat posed by the ghost, “Presence” is desperately terrified of ambiguity.
“Pepe” is an immense achievement: one of the most formally and politically radical narrative films to turn up on the international festival circuit in 2024.
“All We Imagine As Light” is an absorbing celebration of female friendship.
The aim is to evoke, critically, a period when adventure, for men, was about running away to Cuba or going on Kerouac-inspired road trips.
Recent Comments