‘The Queen of My Dreams’ Is Not What She Seems
Director Fawzia Mirza and actress Nimra Bucha on their generational dramedy The Queen of my Dreams and what it means when the queen is not what she seems.
Director Fawzia Mirza and actress Nimra Bucha on their generational dramedy The Queen of my Dreams and what it means when the queen is not what she seems.
Lessons in Chemistry shows that our complicated, muddled lives are burdensome, and we must endure and subvert if we are to evolve and find our foothold.
Flanagan’s The Fall of the House of Usher delivers a fatal potion of Poe-haunted, nightmarish doom that brings us to our knees before the conqueror worm.
Is Nordic comedy of ‘bad’ manners The Hypnosis a story of a woman’s liberation and coming-of-age? Or is it a dream about entitled and privileged rebellion?
Tod Browning’s macabre obsessions with making “freak films” may at first seem distasteful and exploitative, but their aftertaste induces food for thought.
Cord Jefferson’s provocative satire on race and literature, American Fiction, skewers modern-day minstrelsy and performative allyship.
Andrew Scott’s stunning one-man performance in Vanya captures your qualms and hypotheticals and throws them back at you not as a bang but as a whisper.
Filmmaking should be carnivorous, made from “the flesh of the actors” says French provocateur Catherine Breilla as she discusses her thriller, Last Summer.
Director Sofia Coppola places herself in the crosshairs with her troubling and provocative adaptation of Priscilla Presley’s memoirs.
Biopic Fito Páez: El Amor Después Del Amor (Love After Music) is, among other things, a gateway into Argentina’s most celebrated rock star’s songbook.
Chameleon Street has a finger on the throbbing pulse of shifting cultures that see youth through punk, new wave, and hip-hop.
Martin Scorsese’s Killers of the Flower Moon is another storytelling masterclass and examination of 20th-century American histories of greed and destruction.