
Motel Destino’s Heat and Architecture of Desire
Karim Aïnouz’s films portray characters in states of displacement. In Motel Destino, that displacement becomes spatially literal.

Karim Aïnouz’s films portray characters in states of displacement. In Motel Destino, that displacement becomes spatially literal.

With crime drama Josephine, Beth de Araújo has crafted a film that first and foremost doesn’t need to be reckoned with so much as sat with.

By satirizing Brat’s success, The Moment argues that Charli XCX is ambivalent to the accolades she cannot help but chase.

Sci-fi thriller Krakatit still resonates with its message of neurotic hysteria in the face of technology and fascism.

Matt Johnson’s goofy Nirvanna the Band the Show the Movie is so laden with tricks, gags, and irony that it somehow registers as sincere.

The Huntress casts aside simplified ideas about revenge and observes different ways to respond to a culture of misogynistic violence.

Filmmakers of the horror movie Rock Springs sped past indicators to elevate the subject, drove right over the cliff, and plunged to rock bottom.

True to its deceptively simple nature, Lily Platt’s Crisis Actor is a bold and captivating reflection on addiction, albeit of a different kind.

MGM musical Lovely to Look At is gorgeous stuff; the colors bleed so richly and profusely that they spread across the frames like melted crayons.

Director André Gaines’ thriller The Dutchman is a playful meta-narrative with a strange, haunting presence that has the visceral feel of a nightmare.

Daddy is a classic example of an artist making a museum film that showcases her campy and confrontational art and performance.

The Incredible Snow Woman takes in its difficult, dysfunctional, and quirky protagonist and warmly embraces her.