Ousmane Sembène’s Mandabi (1968) unravels Senegal’s post-colonial entanglements and centers African people, places, and experiences at every frustrating step.
Is there freedom for the filmmaker and for viewers in the director-revised films that comprise ‘World of Wong Kar-Wai’, or just a forced regression?
Park Chan-wook’s South Korean thriller ‘Joint Security Area’ shows us how easy it could be to build a brotherhood with our enemies.
Bing Liu’s Skateboarding Documentary, ‘Minding the Gap’, Is a Manifesto of Youth Delivered by the Young
Some people never grow up but in skateboarding documentary, ‘Minding the Gap’, no one ever stops growing.
Using collage, clay animation, and 2D anime-style art with traditional archival footage and modern black-and-white interviews, Edgar Wright tries to capture the Sparks as a "Hollywood" band with an obsession for European visual art.
Scorsese's The Irishman is not a masculine power fantasy, nor could its heavy underlying sadness ever be mistaken for delight in violence or criminality.
Prisoners of the Ghostland, starring a whacked-out Nicholas Cage, is exciting, wild, bold, and joyfully ridiculous -- pretty much what you expect from a Sion Sono film.
Jonas Poher Rasmussen’s animated Flee fearlessly discusses the value of life, the arbitrary inhumanity of immigration law, and the resilience of family, borders, and identity.
Rebecca Hall's Passing has a distance to it affirms the film's message but it doesn't necessarily make for appealing cinema.