Our first dispatch of the Chicago International Film Festival highlights Polish drama Sole, 3D dance doc Cunningham, and the experiential Fire Will Come.
Wyrm writer/director Christopher Winterbauer sits down at Fantastic Fest to talk about the analog appeal of ’80s kitsch and adapting shorts to features.
The late filmmaker’s final project was hosting a warm & fascinating look at her extraordinary seven decade career.
Pedro Costa’s minimalist, based on real events drama is short on plot and long on the relentless weight of living.
Romania’s Corneliu Pourumbiou bogs down excellent production design in droopy, exposition-heavy noir trappings.
Brazil’s bloody modern Western is occasionally baffling, but never boring.
Nadav Lapid’s latest film loads its narrative with impactful stories about masculinity, language, and nationality.
Pedro Almodóvar graces us with a shaggy but rewarding portrait of a middle-aged director wrestling with his demons, with an arresting turn by Banderas.
Martin Scorsese returns with another long, sumptuous opus, whose crackling performances and scintillating script are held up by some wonky de-aging tech and a leaden runtime.
Flavio Alves’ story of a trans immigrant in New York City may be rough around the edges, but it serves as important advocacy.
The director of the trans-centric drama sits down to talk about indie filmmaking, the struggles of trans POC, and more.
Bertrand Bonello writes & directs a genre defying story about teenage passion & the thin veil between life & death.
The ’80s-set film about Satanists targeting music groupies is a delight of heavy metal horror comedy.
The Vincenzo Natali adaptation of Stephen King’s short story is a repetitive struggle.
As Fantastic Fest opens, we talk to Johannes Nyholm, the director of the darkly imaginative Koko-Di Koko-Da, about grief, trauma, and the bizarre.
A punk drummer loses his hearing in Darius Marder’s intense, layered personal drama, with an intense lead performance by Ahmed.
The acclaimed filmmaker stumbles in her slick, but inaccessible portrait of the iconic civil rights figure.
While it captures some of the melancholy of the acclaimed novel, John Crowley’s adaptation is too leaden and self-serious to really soar.