The Bare Phenomenal Facts: Kazik Radwanski and Deragh Campbell on “Anne at 13,000 Ft.”
It’s not the fall, it’s the sudden stop — in Anne at 13,000 Ft., which circles back again and...
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Time Slays Clocks: Tsai Ming-liang’s “Days”
Tsai Ming-liang has spent much of his career examining Taipei’s less-luxurious locales, casting...
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On Bodies and Portents: Jacqueline Lentzou’s “Moon, 66 Questions“
“This moon is no joke, my darlings,” comes an astrological warning heard in Greek director...
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Top Five Shorts of 2020
Compiled by Laurence Boyce Normally, a “Best of” list is the chance to look back over the previous...
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Shake Ups and Discoveries: IFFR 2021
If my experience attending the International Film Festival Rotterdam in person last year is a...
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Nouveau Shamanic Western Kabuki: Sion Sono’s “Prisoners of the Ghostland”
For some time now, Japanese hellraising provocateur Sion Sono has had a not-so-secret mission to...
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I Can Feel it Coming in the Air Tonight: Ben Wheatley’s “In The Earth”
For those who paid close attention to his “rise,” it’s rather humorous to think of Ben Wheatley as...
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Stuff of Legend: Lemohang Jeremiah Mosese’s “This Is Not a Burial, It’s a Resurrection”
Lemohang Jeremiah Mosese has slowly been building up a reputation on the festival circuit....
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2020 Impressions
Though a little late, and by no means do I want to resurrect 2020 and all of its misfortunes, but...
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Travelin’ Through: Chloé Zhao’s “Nomadland”
When Frances McDormand’s Fern appears in the opening frames of Nomadland (2020), a title card has...
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Vengeance: Oliver Laxe’s “Fire Will Come”
Oliver Laxe’s Fire Will Come (2019) begins with the same image Albert Serra’s Liberté (2019) ends...
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A Life on Hold: Garrett Bradley’s “Time”
Garrett Bradley’s movie titles convey big, broad concepts: “Alone,” (2017) “America,” (2019) and...
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