Kore-eda Hirokazu’s ‘Monster’ Falls Short of Its Literary Ambitions
Kore-eda Hirokazu’s Monster has striking moments, but casually skips over details, reducing its characters to incomplete fragments.
Kore-eda Hirokazu’s Monster has striking moments, but casually skips over details, reducing its characters to incomplete fragments.
From kitchen epics to road odysseys, these nine Chantal Akerman films chart the evolutions and revolutions of one of modern cinema’s most important auteurs.
Actors Philip Seymour Hoffman, Toby Jones, and Tom Hollander have dared to portray Truman Capote to varying effect. Capote remains a complicated challenge.
Radu Jude’s gonzo satire of post-Soviet Romania, Do Not Expect Too Much from the End of the World, hits a sweet spot between Luis Buñuel and Béla Tarr.
Kurdistani filmmaker Sina Muhammed discusses the complex interplay between joy and enduring struggle in his feminist drama, Transient Happiness.
Cymande were foundational in the creation of hip-hop, disco, house, drum and bass, and rare groove, passed through generations like so much underground music.
Rose Glass drenches Love Lies Bleeding in sensation and texture, as if she dragged the film through pools of viscera on the floor of a Foley sound effects studio.
Michel Franco’s Memory explores the premise of entrapment in the context of trauma and dementia and, in its repression of truth, builds to a chilling moment.
Sabu and a tiger foreshadow Byron Haskin’s special effects and science fiction adventures of humans vs. the elements in Man-Eater of Kumaon.
India Donaldson’s directorial debut Good One leans into gender distinctions, but goes beyond them to offer incisive and observant critique of human nature.
Which is the greater horror, Small Things Like These asks; the women who suffered under Ireland’s abusive Magdalene Laundries or the citizens’ complicity?
Marilyn Monroe’s performative femininity as Sugar in Some Like It Hot is just as artificial as Tony Curtis and Jack Lemmon’s drag characters’, only better.