Peter Strickland’s Duke of Burgundy examines the give and take of love through the prism of kink, and how even in the context of a sapphic dom-sub relationship, power dynamics can ever shift between two people.
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In Glorious Summer, co-directors Helena Ganjalyan and Bartosz Szpak craft an ethereal vehicle to examine the pitfalls of blissful ignorance.
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ASCO: Without Permission centers the revolutionary art collective and its cultural impact.
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The Python Hunt expertly delivers on its promises of humor and human interest.
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The Infinite Husk falters under the weight of its big philosophical ambitions, leaning too far into the pessimism of the human condition without actually exploring what it means to live and move through the world’s structures.
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Following its first screening, Nirvanna the Band the Show the Movie proved itself as the SXSW breakout of the year, with the word-of-mouth buzz resulting in a frenzy around the film’s second showtime.
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The Brutalist achieves its greatest emotional potency when it examines the precariousness of life’s balance.
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With All That Jazz, Fosse not only created a pageant of his own death, but the glorious death of the original movie musical altogether.
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In La Chimera, Rohrwacher delicately crafts a moving romantic tale of magical realism, entwining the immortal and mortal spheres, and those who find themselves stuck on either side.
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Head takes the silliness of The Monkees sitcom and dials it up to surrealist heights.
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Something Wild levels up a typical story with atypical moments of tenderness and a deeper exploration of who these two strangers become to one another, turning their chance meeting into a fated transformation.
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Vojtěch Jasný’s The Cassandra Cat highlights political hypocrisy in a mystical tale led by a cat wearing sunglasses.
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It’s got a little Gentlemen Prefer Blondes, a little Austin Powers, and a lot of the Rock Hudson-Doris Day led rom-coms of the ‘50s, particularly Lover Come Back and Pillow Talk. The film’s influences are so clear it could be hard to see if it's giving viewers anything new, but Peyton Reed offers a homage to the greats of the genre’s past while poking fun at its historical gender politics and upending the status quo.
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A Mattel-funded Barbie was never going to end patriarchy, and it would be unrealistic to think it ever could. However, Gerwig still offers a salient, at times genuine look at modern girlhood devoid of the “girlboss” narrative the film was originally saddled with, and it’s fun. Remember girlish fun? It’s been a while since girl-centric fun was at the forefront of a big studio feature.
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The Heroic Trio truly does feature a heroic trio of Hong Kong superstars coming together under Johnnie To’s utterly unique vision.
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