(Every month, we at The Spool select a Filmmaker of the Month, honoring the life and works of […]
foreign
As self-reflective as it is starkly modernist, Pedro Almodóvar’s latest is navel gazing at its finest.
Larisa Sadilova’s probing drama highlights small-town Russian culture through an opaque lens.
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.
Arnaud Desplechin shifts gears with an all-too-straightforward cop drama mired in cliche.
The off-kilter French-Canadian auteur returns with a resonant if overlong drama that ends just a bit too messily.
One of Miyazaki’s most enduring classics, Princess Mononoke addresses the concepts of violence and hatred in a way young viewers can understand.
The latest film from the French master is a piercing look at the state of publishing and mass media wrapped up in relationship drama.
Porco Rosso is yet another swashbuckling adventure in the grand tradition of Hayao Miyazaki, a high-flying caper about a flying pig who’s also a sea pirate.
More than just its gimmicky 59-minute 3D long shot, Bi Gan’s dreamlike drama is a delightfully challenging, exhilarating work of cinema.
Miyazaki’s animated classic effortlessly blends magical realism with a relatable coming-of-age story about building community.
In 1988, Hayao Miyazaki found a bright, adorable way to explore the freedom and exuberance of childhood, and invites adults to see it anew.
While it doesn’t have the reputation of Miyazaki’s later works, Studio Ghibli’s sophomore film serves as a lovely steampunk primer to the man’s filmography.
Before Studio Ghibli, Hayao Miyazaki honed his craft on one of the liveliest anime action-adventures of all time.
While the macabre stop-motion animation of this animated anthology is sweet, its approach to colonialism leaves a bitter taste in the mouth.
Chinese auteur Jia Zhangke returns to long-form storytelling with this feature-length tale of the twisted romance between a gangster and his moll.
While it’s long, languorous and more than a little dreamlike, László Nemes’ latest paints another sumptuous world of woe.
Matthias Schoenaerts learns to tame the beast within in this sensitive Belgian drama about a prisoner and his horse.
