Led by a misanthropic yet oddly charming performance from Jean Dujardin, Quentin Dupieux's take on the midlife crisis, Deerskin, gains power from the absurd and the enigmatic.
Jessi Jezewska Stevens' debut novel, The Exhibition of Persephone Q, is filled with exciting ideas and quirky characters, but the book's surfeit of style can't make up for a lack of personality or perspective.
Nat Faxon and Jim Rash's comedy, Downhill, paints in broad strokes and peaks early, never matching the clever satire of its source material, Force Majeure.
Set in 18th century France, Céline Sciamma's Portrait of a Lady on Fire applies ravishing historical details to the timeless poetry of forbidden love.
André Aciman's long-awaited sequel to Call Me By Your Name, Find Me, isn't so much an extension of the previous book's queries about romance and sexuality as it is a work of convenient revisionism.
South Korean director Bong Joon-ho’s latest film, Parasite, combines the epic class warfare of Snowpiercer with the zany activism of Okja, resulting in a brilliant, many-layered exploration of social stratification and capitalism.
Veteran Spanish director Pedro Almodóvar's pointedly autobiographical film, Pain and Glory, reflects on the power of art in shaping a life and legacy.
DIY musician Jay Som's Anak Ko exudes tentativeness in the face of subtle personal upheaval, but a veil of motherly tenderness offsets the loneliness and desperation.
Jia Tolentino's first collection of essays, Trick Mirror, expertly navigates how the byproducts of capitalism and the Internet permeate culture, values, politics, and the daily lives of people worldwide.
The legendary director's hotly anticipated ninth film, Once Upon a time... in Hollywood, applies his trademark wit to '60s Hollywood, but ultimately it's an oddly conservative machismo, not inventive filmmaking, that shines through.
Colson Whiteheads' The Nickle Boys fictionalizes the true story of a Florida prison for boys in the 1960s, further exploring America's furtive legacy of racist violence.