With its recent 4k restoration, Daisies endures as a New Wave masterpiece and hyper-feminine smorgasbord of sensory pleasure.
The most fruitfully jarring artistic disruptions at documenta 15 unsettle their own settings, stealthily intervening in traditional German institutions or landmarks.
The engulfing vocal testimony of Miller’s audio-visual art speaks to the threat of death faced by people of color in this country.
Assembly Required suggests it is high time to strap on a colorful mask and play with someone you don’t know — or don’t know well enough.
Hanna Bergholm’s stunningly original debut film Hatching embraces the experience of female adolescence as the monster that it is, and then gives that monster literal wings.
Charline Bourgeois-Tacquet’s directorial debut offers a twist of zest to the tired tale of a vivacious young woman pursuing romance with an older man.
Everybody seems to be infatuated with everyone else in the film, locking eyes with an intensity that could shame a tantra guru.
After Yang merges director Kogonada’s fastidious attention to form with a rare empathy for the insecurity of the human condition, especially within the nuclear unit.
Laura Wandel’s debut film examines the psychological — and physical — carnage wrought between children when grown-ups look the other way.
Jackson’s two-dimensional surfaces lead us into a maze of shapes and visual gestures, yet tease us into recognizing the figures hidden within.
Part of the glory of the film is that its heroine’s choices, however unexpected, are taken seriously.
Rather than celebrate intrepid man capturing, and controlling, the magic of “nature,” the film focuses more on how nature watches us.