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.
Netflix’s adaptation of Jane Austen’s Persuasion, directed by Carrie Cracknell, isn’t a disaster, it’s a dull reminder of the state of the streaming wars.
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.
On the surface, Evil has all the makings of traditional catholic horror, yet it continuously brings a unique perspective to one of the horror genre’s most well-trodden grounds.
It was not without admirable aplomb that Times Square attempted to capture the punk movement in its zeitgeist the way Saturday Night Fever did with disco.