
‘Lighthouse’ Shines Amidst B-Movie Trappings
At a brisk 60 minutes, Lighthouse gains much mileage out of its limited stretch of soured romance, infidelity, and conjugal drama.

At a brisk 60 minutes, Lighthouse gains much mileage out of its limited stretch of soured romance, infidelity, and conjugal drama.

With the artful subtlety of an SNL sketch, New Group is a sophomoric B-horror that splits tedious humor with the utterly stupid political convictions of a preteen.

KÖLN 75 tells the story of a music-obsessed German teenager who overcame many obstacles to produce the most legendary concert by pianist Keith Jarrett.

In Harry Kümel’s newly restored, surreal gothic horror Malpertuis, Orson Welles gives a memorably cantankerous performance as a dying man bequeathing his estate to those he utterly loathes

Jafar Panahi’s Palme d’Or-winning revenge thriller, It Was Just an Accident, slices into memory and the desire for revenge with a double-edged knife.

In Claire Denis’ arch and darkly funny film, The Fence, colonialism isn’t history, it’s not even past.

James Sweeney’s Twinless argues that the loneliness of contemporary, late-stage capitalism life is perpetuated by the very things that attempt to remedy it.

Jim Jarmusch’s low-key comedy of awkwardness, Father Mother Sister Brother explores the things we can never know about our families.

The Librarians is a vital David and Goliath documentary of the fight against book banning, a harbinger of fascism, in America.

In these two political thrillers from Henri Verneuil, neither is above faking out the viewer and both are obsessed with the architecture of the modern city.

Spare, yet strangely ornate, Swiss film First Love sings of a decadence that evokes the richly embroidered tales of Russian literature.

Like its filmmaker Tokuzô Tanaka, The Betrayal has been largely sidelined by other jidaigeki (historical) and chanbara (samurai) films in Japan’s traditional canon, but this revelatory new release rewrites the record.