LOS ANGELES — As a woman who was once a teenage girl, I have a certain fondness for any filmic or visual art that harkens back to that time of intense, unbridled feelings, awkward physical changes, and sexual desires running wild ’n free.
WASHINGTON, DC — In Iran, it’s difficult to know where the artistic and the political are separated, if they can be separated at all.
No one is quite likeable in Jacques Rivette’s 2003 film, The Story of Marie and Julien.
LOS ANGELES — The dogs were all fairly well-behaved until a collie started barking during a lull, almost as if on cue. “Give that dog a mic,” Anderson joked.
Francofonia bristles at labeling. The latest whatsit by Russian titan Alexander Sokurov moves comfortably between categories.
The hamlet of Igloolik in far northern Canada and the city of Conakry in West Africa’s Guinea are plagued by distinct issues, one a troubling suicide rate, the other widespread poverty.
The Russian Woodpecker is a documentary about zombies.
When you watch a film by Stephen and Timothy Quay, those twin princes of darkness, you enter a shadow world.
Eric Mitchell once described his 1978 No Wave film Kidnapped as “a 1960s underground movie happening today.”
When I arrived early on opening night of this year’s MIX NYC festival at a former manufacturing space in Sunset Park, Brooklyn, I heard a rumor that there used to be a panty factory there.
As it might be if Harper Lee or Thomas Pynchon ambled out of seclusion and made appearances at bookstores and literary conferences, the world theatrical premiere of Out 1: Noli me Tangere is not simply a coming-out party.
Mistress America is director Noah Baumbach’s latest take on the trials and tribulations of the supposedly indecisive and perennially juvenile millennial generation.