John Patton Ford’s How to Make a Killing uses a dying man’s cheesecake complaint to expose the hidden violence of meritocracy: not greed, but the slow colonization of desire by a system that promises everything and recognizes nothing.
Far from the Disney path, these animated animal movies from Hungary and the Philippines revel in parody, satire, and real world-inspired violence.
Satyajit Ray’s Days and Nights in the Forest deepens as you wander further into its bucolic details, where things aren’t as serene and picturesque as they seem.
Venice Film Festival’s steamiest premiere, Primetime, does a filthy dive into the twisted minds of American reality television’s apex predators.
German actor Otto Gebühr’s story shows how consistent artistic work can soften propaganda and shape historical memory more powerfully than a political system.
Marion Davies and Laura La Plante were two of the most delightful comedians of the silent film era, and the charm hasn’t worn off in these gender role reversals.
Bouchra has so many visually stunning frames, so many moments that make the familiar strange and newly beautiful, and so many unexpected conversations with other films and works of art.
Venice Film Festival 2026 embraced film’s political nature—though not without flinching—as we examine works by Paul Schrader, Shin’ya Tsukamoto, and an Oasis documentary.
Danny Boyle’s Ink shows how both sides of the sordid media war between Rupert Murdoch and Larry Lamb are despicable.
Dolly Parton’s small but revealing filmography shows that her carefully constructed persona was never an obstacle to acting, but its richest material.
Christopher Nolan’s The Odyssey tries to convince viewers that those in political and military power regret the suffering they cause, but we know better.
In his quirky comedy, Pee-Wee’s Big Adventure, Tim Burton redefines what being an adult actually is, or can mean.
