From its opening moment, unconventionally non-cinematic, director Jonathan Glazer announces the psychic essence of The Zone of Interest, one structured by its absences and what it decides not to show us.
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The Promised Land is a reminder that an epic doesn’t need all the bells and whistles we have grown accustomed to—it can be about something seemingly insignificant, like a man trying to farm.
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Love Lies Bleeding is a gutsy exclamation point that doesn’t give a damn what anyone thinks of it.
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You’ll either feel I Saw the TV Glow kick you right in that soft part of your soul, or you won't.
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Desert Road, which had its world premiere at SXSW, follows Clare as she finds herself trapped next to her crashed car within walking distance from a gas station and a fenced-off factory.
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Drafthouse’s Lars Nilsen and Zane Gordon-Bouzard introduced their February 7 feature, Over The Edge, as the fifth in a series of juvenile delinquent films, an exploitation subgenre that surged in the late 70s/early 80s with films like The Warriors, Scum and the Spanish quinqui dramas but is rarely seen today.
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Boobs! Brews! Big screens! What could be more American than that? Why, worker exploitation, of course!
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Like a great magician you’d run into in a dark alley at 2 am, Cuckoo awes you with its feats of well-executed craziness.
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2024 SXSW premieres Ghostlight and Grand Theft Hamlet each take on the power of performing Shakespeare.
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Immaculate is simply a film that doesn't need to exist.
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Villeneuve’s Dune: Part Two offers a fresh take on the “white savior” story and an absolutely awe-inspiring visual feast, but falters in being too obvious.
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Denis Villeneuve’s Dune: Part Two is an awe-inspiring, idiosyncratic spectacle that demands to be seen.
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Madame Web is at its best when it begs the question: what would happen if our friendly neighborhood Spider-Man was instead a blood-thirsty serial killer?
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Cowboy Bebop: Knockin’ on Heaven’s Door takes the time to put the crew out in the world and gives them the space to bounce off each other. Lonely as they may be, they live. They use their time.
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Kathryn Newton shocks, slays, and amazes in the starring role of this charming monster rom-com.
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Senegalese fiction writer-turned-filmmaker Ousmane Sembene finds something alluring in the lives of these workers,
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A selection of Sundance 2024’s independent film offerings, from queer neo-noir Ponyboi, to the experimental AI-structured Eno, to Sasquatch Sunset’s Sasquatch pee.
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For the inaugural edition of Psychotronic Drive-In, we’re covering two Spanish films released in 1973: Attack of the Blind Dead and The Vampires’ Night Orgy. Both are spectacular examples of what makes Spain’s horror output in the 1960s and 1970s so compelling and unique.
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Let Sofia Coppola make a movie about every woman who’s ever lived.
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More than 80 years later, Peeping Tom is still frighteningly relevant to the modern world and surveillance culture.
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