A new Criterion Channel film collection spanning five decades examines the pressing existential questions surrounding artificial intelligence today.
Despite faithfully recreating the story of the beloved comic book series, the TV show lacks the verve of the original.
Featuring a delicate lead performance by Christine Froseth, this is a smart, sometimes purposefully discomfiting comedy about taking control of one’s sexuality.
This year’s program celebrates the resilience and joy in worldwide struggles against erasure and confinement.
The documentary has impressive access to contemporary art world figures, but comes up with no good solutions for the many problems it discusses.
Directed by virtuous animator Genndy Tartakovsky, Primal is a continuously inventive and exciting adventure through a prehistoric fantasy world.
We Met in Virtual Reality raises the bar for VR filmmaking, and has an optimistic vision for the potential of the metaverse.
Aftershock, directed by Tonya Lewis Lee and Paula Eiselt, explains the disproportionate rate of Black maternal mortality in the US.
Baz Luhrmann’s film Elvis and Danny Boyle’s miniseries Pistol are both overly fixated on the influence their respective musicians’ managers had on them.
Stuffed with references to historical and contemporary film, Olivier Assayas’s miniseries version of his own 1996 film Irma Vep is sometimes too clever for its own good.
Portuguese filmmaker Filipa César, whose work is the subject of an online retrospective hosted by Metrograph, seeks to help Bissau-Guineans preserve the memory of their revolution.
Nominated for the Pulitzer Prize, the hybrid film/theatrical production is a dense and irreverent look at the performance of queerness.