Ephraim Asili’s Godard-inspired treatise on Black activism and community-building loses itself a bit in its artistic flair.
One of Sam Raimi’s early film-school shorts is a shaggy murder mystery soaked in future promise.
Bringing the works of Tarr and Akerman to modern America, Gus Van Sant’s drama about student life around a school shooting remains a vital work.
Director Jeffrey McHale talks about his latest documentary and his experiences with Paul Verhoeven’s cult classic Showgirls.
Jeffrey McHale explores the circuitous route the NC-17 flop took from Razzie shame to midnight fame.
Andrew Ahn’s sophomore film is one of the year’s most understated masterworks, with a beautiful sendoff for Brian Dennehy.
Lara Jean Gallagher’s fractured tale of female friendship stumbles once it falls into thriller territory.
Annie Silverstein’s delicate, uncompromising drama uses the subculture of Black rodeo to paint an aching picture of loss, time and poverty.
With a quietly assured lead and a keen sense of rhythm, Jessie Barr’s debut feature announces the writer/director as a talent to watch.
Black cinema (and American cinema as a whole) hasn’t been the same since the release of Spike Lee’s revolutionary New York drama.
The writer/director sits down to talk about indie filmmaking, the importance of Asian-American voices, and putting her life story on film.
A sensitive, nuanced Chicago dramedy that dives into the emotional complexities of abortion.
Sam de Jong’s vibrant, raw indie offers an effortlessly dynamic showcase for its model-turned-actress star.
Portrait of a Lady on Fire’s Noémie Merlant gets sweet on a theme park ride in this charming, if conventionally quirky dramedy.
Sandwiched between a rough start and too tidy of an ending, Carlos López Estrada’s latest finds love in its large ensemble.
Time, ease, and the thrill of Americana rain down on Jim Jarmusch’s most intriguing early work, about a group of three escaped convicts.
Jim Jarmusch’s laidback anthology of fateful celebrity meetings lays bare the communal value of commodity.
Justin Long gets lost in a navel-gazing psychedelic stoner dramedy filled with sophomoric philosophizing.