Fellini’s fable about an innocent clown roaming postwar Italy with an abusive strongman, La Strada, has the romance of his later epics but a more potent sense of tragedy.
Alonso Ruizpalacios’ sort of documentary, ‘A Cop Movie’ (Una película de policías), takes on the challenge of presenting what real-life policing looks like.
In a world where everybody knows that Peter Parker is Spider-Man, universes are bound to go crazy, and that makes Spider-Man: No Way Home fantastic entertainment.
Frankenstein’s daughter, in modern parlance, is some kind of proto-“trans” creation of a woman’s mind within a patched-together male body. This is heady stuff.
Lynne Ramsay’s gutting, eerily beautiful first film, Ratcatcher, shows a director refusing to let the impoverished circumstances of her characters define them.
John Mathis’ Where’s Rose, which premiered at Raindance Film Festival 2021, explores the misogynistic darkness behind the charismatic personality.
Directed by low-budget maestro Bernard Vorhaus, the restored film-noir ‘The Amazin Mr. X’ is an unpredictable little specimen of spookery-pokery.
Lucile Hadžihalilović’s subversive Earwig is rooted in the dark origins of fairytales – before they were pacified for modern childhood consumption.