Annie Silverstein’s delicate, uncompromising drama uses the subculture of Black rodeo to paint an aching picture of loss, time and poverty.
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.
The vulgar auteur commits to a 13-hour crime drama that traffics in his most minimalist, nihilistic sensibilities.
Céline Sciamma’s queer period romance is an intimate visual feast, filled with uncanny empathy and admirable aesthetics.
As self-reflective as it is starkly modernist, Pedro Almodóvar’s latest is navel gazing at its finest.
Lee Won-Tae piles on the cheese in this pulpy gangster thriller that rewards mightily, if you’re in the right mood.
Larisa Sadilova’s probing drama highlights small-town Russian culture through an opaque lens.
It takes some doing to make a movie about a talking fridge boring, but by gum, Benoît Forgeard’s messy comedy manages to pull it off.
Mati Diop’s expansion of her documentary short is a scifi-tinged genre experiment that admirably swings for the fences, even if it doesn’t land with complete success.
Following up I, Daniel Blake with another grim drama about English poverty, Ken Loach spits venom about the dark side of capitalism to mixed results.
The off-kilter French-Canadian auteur returns with a resonant if overlong drama that ends just a bit too messily.
Gaspar Noe’s kaleidoscopic Cannes favorite gets a new trailer and poster promising all the Satanic dance mayhem the […]