Small Axe fuses the political and poetic and reminds that oppression does not define communities; it is one element of a much richer cultural tapestry and emotional terrain.
Made as a lush vehicle for Jean Seberg, Moment to Moment is an eye-catching, brain-teasing, and utterly bonkers melodrama that draws comparisons to Hitchcock’s Vertigo.
In Master Gardener, Paul Schrader uses the curiously arch story of an ex-White Power killer hiding out as a gardener to deliver another story of a lonely avenger seeking absolution through violence.
Hideo Gosha’s Samurai Wolf films contain scenes and elements that feel like nods to Akira Kurosawa.
Despite starring Marlene Dietrich and Jean Gabin, Georges Lacombe’s 1946 crime drama, Martin Roumagnac isn’t famous or appreciated as it should be.
Rio belongs to no single genre but exists in its own world of Hollywood tomfoolery while reflecting the unsettled zeitgeist of a non-American world that’s glamorous and treacherous.
To some extent, György Fehér’s murder mystery, Twilight feels like a brooding film about Communist hangover, about an inability to breathe.
Beneath the taut suspense of the political and religious machinations for control in Tarik Saleh’s Cairo Conspiracy emerges a stream of ideas.
The Three Musketeers: D’Artagnan lacks the literary poetry and grace of Dumas’ sprawling novel, but Martin Bourboulon’s iteration honours its spirit.
Mia Hansen-Løve’s tender Parisian drama One Fine Morning reflects on our sentimental nature and how we attach meaning and connection to the physical.
Ben Affleck’s likeable and engaging Air walks a fine line between success and defeat. It’s a fitting culmination of the director’s exploration of drama and its sub-genres.
Film: The Living Record of Our Memory provides an awe-inspiring, expedited survey of film preservation and the urgency of capturing humankind’s visual memories lest we let these precious histories disintegrate.
