Oscars diversity rules: meaningful change or whitewashing and tokenism?
“If the project results in more films like Green Book and Mulan, it will be all for naught.”
Survival cinema meets the drug addiction genre in Castle in the Ground
Great performances and a naturalistic universe make Joey Klein’s film compelling.
Haunted house madness and body horror combine in Swallow
An interview with Carlo Mirabella-Davis about his new film, which is now available on VOD.
Mektoub, My Love: Canto Uno’s non-eventfulness is radical
Abdellatif Kechiche’s controversial, long-delayed follow-up to the divisive Blue Is the Warmest Colour is as impressive as it is hopelessly out of touch.
Greed bites off more than it can chew
Frequent collaborators Steve Coogan and Michael Winterbottom re-team for an ambitious, overstuffed satire of capitalism and the 1%.
Corpus Christi is a film for our times
Poland’s entry for the Best Foreign Language Film Oscar is a deeply-felt exploration of religion with a transfixing central performance.
The Assistant is a searing portrait of workplace abuse
We spoke with director Kitty Green about her film, which tackles injustices and systemic abuse in the film industry.
L.A. Tea Time is a road trip like no other
We spoke with Sophie Bédard Marcotte about her new film, a fiction/documentary hybrid in which she appears as herself.
Matters of the soul
Nadav Lapid’s Golden Bear-winning film is personal, soulful and confrontational in all the best ways.
Despite some weaknesses, Just Mercy resonates
Destin Daniel Cretton’s depiction of a real-life legal case is touching, even if it relies on some familiar tropes.