
‘Disclosure Day’ Alludes to Societal Anxieties New and Old
By making a private company the antagonist, Disclosure Day subverts the fear that government oppression is the biggest threat to individual freedom.

By making a private company the antagonist, Disclosure Day subverts the fear that government oppression is the biggest threat to individual freedom.

Director Sébastien Vaniček, cinematographer Philip Lozano, and editor Maxime Caro bring much-appreciated visual artistry to the grotesquerie of Evil Dead Burn.

Many of Claude Sautet’s films were pointed comments on how even the most assured families can be the victims of upheaval when cultural codes are challenged.

Ladies and Gentlemen, the Fabulous Stains built the scaffold on which more successful films about women in punk rock would scale grander heights.

Imanol Ortiz López’s 2D animated short film, Hunger is a captivating tale of horror about two parents who decide what to do about their crying baby.

Director Boots Riley and critics interpret I Love Boosters as an anti-capitalist, if not revolutionary, tale. Quite the opposite, in fact.

Sci-fi movie Unearthly Stranger is wonky, but viewers will enjoy the crackerjack paranoia, terror, and chilling “something is not right” about this marriage moments.

In her 9/11-era drama, I’ll Be Gone in June, Rivilis hits perfect tension between how life moves so fast, and yet, so slow.

Kane Parsons’ uncanny creeper Backrooms is a Borgesian labyrinth of thrilling yet ultimately disappointing potential. Not that there’s anything wrong with that.

One of silent film’s most beautiful stars, Corinne Griffith glitters across Lewis Mileston’s deceptive The Garden of Eden.

Highly praised, to a sycophantic degree, one might argue, Sang-il Lee’s lengthy drama, Kokuho, fails the artfulness of its subject.

Kim Nguyen’s Saigon Story revisits Eddie Adams’ iconic execution photograph and follows the families still living with what the Vietnam War (aka the American War) – and that image – exposed.