The Works and Days is a quiet epic, using its length to capture the rhythms of rural life and its desecration by urbanization better than any conventional movie could.
“You don’t need corporate validation or Hollywood validation to do something,” the pioneering No Wave filmmaker explains.
The filmmaker talks to Hyperallergic about his documentary All Light, Everywhere and incorporating theory into his practice.
Directors Lav Diaz, Mattie Do, and Minh Quý Truong have built off Hollywood’s tropes in unexpected ways in their science fiction films.
A program of shorts and features organized by Beth B for the International Film Festival Rotterdam examines issues of conformity among women, challenges gender stereotypes, and advocates for female agency.
The documentaries at this year’s edition tell stories of World War II spies, activists fighting deforestation, Czech political corruption, and more.
“Korean Cinema” often refers primarily to celebrated auteurs like Park Chan-wook and Bong Joon-ho. A new series at Film at Lincoln Center offers a 21-film corrective, illuminating the wide range of contemporaneous production in South Korea.
In Trouble, after learning that parts of a BBC documentary about her father were faked, Mariah Garnett sets out not to correct the record, but to play with it.
With Heimat Is a Space in Time, Thomas Heise explores how personal experience shapes the “objective” past.
In eschewing claims to an unmediated reality, Synonyms reveals truths about French society often masked by reality itself, while Young Ahmed obscures crucial systemic injustices in Belgium under the guise of realism.
In his latest film, Zombi Child, Bertrand Bonello complements his usual emphasis on aesthetics with an insightful critique of colonialism and the contradictions of liberalism.
The Wild Goose Lake is the latest Chinese crime film to smuggle a critique of the country’s inequality, surveillance, and the police state under the guise of genre.