This indie doc about modern slave labor in the East Asian fishing industry is well-intentioned but pulls its punches when they’re most needed.
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.
The off-kilter French-Canadian auteur returns with a resonant if overlong drama that ends just a bit too messily.
Eric Khoo’s film on food, family, and culture isn’t always strong on plot but is ultimately satisfying.
Winnie Cheung’s award-winning short is filled with trippy imagery, but might be too frenetic for its own good.
The Houston-born filmmaker talks about his latest opus, the value of arts in small communities, and the joys/challenges of self-distributing your films.
David Robert Mitchell’s latest might just be reviled precisely because it prods at the solipsism of the film bros who tend to drag it.
Tessa Thompson and Lily James are two sisters struggling with rural poverty and difficult choices in this gripping, but uneven drama.
Max Minghella’s directorial debut is a neon-dredged pop curio that features a one-note script that doesn’t exactly serve Elle Fanning’s game lead turn.
Molly Shannon and Amy Seimetz shine in this warm, tender, humanizing portrayal of the famously enigmatic poet.
Chicago’s documentary film festival comes to a close with docs on the war in Ukraine and a cute little farm in SoCal.
Environmentalism, culture clash, and Satanism reign in Day 3 of Chicago’s doc festival.
Day 2 of Chicago’s documentary film festival displays films about iconic journalist Mike Wallace and the trials and tribulations of a family struggling to provide private EMT care in Mexico City.
Reassembled from previously-thought unusable Sydney Pollack footage, Alan Elliot cobbles together an arresting Aretha Franklin concert film.
We interview the Starfish director about making his first feature, paying homage to a close friend, the film’s Silent Hill nods, and more.
The Wind director sits down for a podcast interview to talk about her feature debut’s feminist horror deconstruction of the Western.
Alison Klayman delves deep into the disturbing nihilism of the Breitbart figure in this occasionally uneven, but compelling documentary.
RELAXER’s director sits down to talk about video games and the horrors of Y2K.