Three Alexandre Rockwell films, now on OVID.tv, depict everyday Surrealism and Expressionism quite unlike the usual dingy kitchen-sink realism about lost souls.
Iñárritu’s VR experience Carne y Arena, Vizcarra’s documentary La Línea, and Rivera’s sci-fi film Sleep Dealer create unconventional imaginings of the Mexico-US border.
Costa-Gavras’ little-seen humane masterpiece, Eden Is West is the rare film that could make its viewers into better people. Now, many can see it on OVID.tv.
As we see in Au Hasard Balthzazr, director Robert Bresson is no world-hater or sanctimonious moralizer. His spirituality is inseparable from his reverence for the material world.
Little did the filmmakers behind Ruben Fleischer’s Venom know that Carnage would become a poisonous burden to Andy Serkis’ sequel, Venom: Let There Be Carnage.
Love in the Afternoon deserves credit for its artistic merit but also for serving as the beginning of a beautiful affair between Billy Wilder and I.A.L. Diamond.
Indigenous Australian writer, director, and actress Leah Purcell talks about reimagining Henry Lawson’s short story and inserting her family history into The Legend of Molly Johnson.
Director Charline Bourgeois-Tacquet talks with PopMatters about challenging the idea of cinema as an image-based art with her romantic comedy, Anaïs in Love.
Directors Joana Hadjithomas and Khalil Joreige talk about the making of Memory Box and reactivating the past through adolescent eyes.
Marvel Studios’ Shang-Chi and the Legend of Ten Rings tries to recontextualize its stereotypical origins into a highly-entertaining film. Does it succeed?