Pedro Almodóvar’s first English-language film, The Human Voice, offers heady pathos and sumptuous visuals in equal excess.
“Test Pattern” chronicles a biracial courtship and coupledom as a means of probing larger power asymmetries.
In the late 1970s and early ’80s, women office workers banded together in a labor movement that sprouted up in 25 cities across the country.
Preparations to Be Together for an Unknown Time and My Little Sister are complicated films about complicated people.
What begins as a trenchant exploration of losing a child becomes a Lifetime-esque affair that strays so sharply from a mother’s grief that it feels a bit like a betrayal.
Ammonite tells a 19th-century love story that prompts less a tingle through the loins than a chill down the spine.
In Wojnarowicz’s work, as in his life, testing the limits of artistic categories and systemic and institutional power was central to his impassioned vision.
Director Charlie Kaufman’s men leech off women for validation, while women attempt to escape their parasitic grip.
Three recent French dramedies boast their own individual je ne sais quoi, less in spite than because of their wacky storylines.
Relic delves into a darkness beyond filial caregiving, approaching the mother figure as the first, and last, monster, her house a veritable womb for distinctly female trauma.
In her photographs, Katherine Simóne Reynolds suggests that vulnerability is vital to a full sense of self, but it is a luxury that Black women across age and background are perpetually denied.
For any American even mildly ignorant of the rich, complex legacy of Civil Rights within our decidedly disunited country, Dawn Porter’s John Lewis: Good Trouble should be mandatory viewing.