A complex liminal space in ‘All the Lovers in the Night’
Director Yukiko Sode premiered her fourth feature, “All the Lovers in the Night,” at the Cannes International Film Festival last…
Review
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Thank God for ‘Club Kid’
Writer, actor and comedian Jordan Firstman’s directorial debut, “Club Kid,” made waves at this year’s Cannes International Film Festival. The…
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Spirits, Sisterhood and Family Dysfunction Abound in ‘Forever Your Maternal Animal’
Contemporary independent films are awash in complicated families. Whether it’s the feuding father-daughter artists in “Sentimental Value” or the sibling…
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Neglecting the necessary: Was Koji Fukada’s ‘Nagi Notes’ an apolitical letdown?
With a body of work that varies from short films told from the point of view of a motel bed…
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‘The Match’: When a good film falls short of greatness
“The Match”, a charged and dynamic Argentine soccer documentary following the 1986 World Cup game between Argentina and England, premiered…
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Paweł Pawlikowski’s striking Cannes standout, ‘Fatherland’
Postwar Europe is nothing new for Polish “Fatherland” writer and director Paweł Pawlikowski. Known best for “Cold War” and “Ida,”…
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Don’t Watch Yourself, Watch the Movie: ‘Teenage Sex and Death at Camp Miasma’
Jane Schoenbrun isn’t one for subtlety. Although their sophomore breakthrough “I Saw The TV Glow” was derided by some for…
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Caretaking and Friendship Intertwine In the Stunning Drama ‘All of a Sudden’
“All of a Sudden” is the third film from Japanese auteur Ryusuke Hamaguchi to compete in The Cannes Film Festival…
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‘The Meltdown’: How Should a Missing Person’s Story End?
The “missing persons” subgenre of film is a strange one — repetitive at times, nearly impossible to perfect, yet often…
