Andrés Waissbluth’s Un caballo llamado Elefante (“Elephant, the Horse”), playing at the Museum of Modern Art, is a charming reversal of the trend toward animation.
‘#BKKY’ is a coming-of-age love story following Jojo, who embodies an amalgamation of interviews the director conducted with 100 Thai teenagers.
In the last 15 years, Agnès Varda has embraced the label of visual artist rather than the more specific filmmaker.
‘A Syrian Love Story’ has an opportunity to do delicate, powerful work; instead, like its subjects, it gets trapped within the limits of its own choices.
French director and artist Chris Marker’s 1997 film Level Five, screening this weekend at Metrograph, is a hilariously antiquated portrayal of the internet.
In Strong Island, Yance Ford lays out the peculiar circumstances that surrounded his brother’s murder in 1992, and the void left in its wake.
The Last Family is a domestic horror story portraying the violent dissolution of a family.
Yuri Ancarani’s documentary The Challenge immerses viewers in the dazzling subculture of ultra-wealthy sheiks who practice falconry.
Bertrand Bonello’s Nocturama follows a group of Parisians as they plan and carry out coordinated terrorist attacks and then hole up in a luxury department store.
In Kedi, human Istanbulites reflect on their complex but loving relationships with the city’s feline inhabitants.
The five films nominated for this year’s Academy Award for the best animated short film use a range of animation and storytelling styles to shuttle characters and viewers across time and space.
We are attracted to the places where bad things have happened, but we rarely reflect on what actually occurred therein.