Wrenching, gorgeous and often suffocating, Andrew Dosunmu’s ‘Where is Kyra’ is a brutalizing descent into hopeless poverty.
Formally exquisite, yet disarmingly soulful, Kogonada’s ‘Columbus’ is lovely, lyrical film about how art makes us at once richer and smaller.
A serene and sublime dual character study, ‘Princess Cyd’ turns queer coming-of-age into a profoundly empathetic, naturalistic fairy tale.
An oblique journey into the wilderness of young masculine rage, ‘The Strange Ones’ struggles to resonate beyond its unnervingly disciplined craft.
Sadly scooped up by Netflix, ‘The Incredible Jessica James’ is a warm, enthusiastic Jessica Williams showcase that deserves a big screen spotlight.
Schmaltzy, stilted and winningly inclusive, Jennifer Reeder’s ‘Signature Move’ is a charming, if messy, wrestling-fueled rom-com.
A modern noir classic about suffocating celebrity, Aaron Katz’s ‘Gemini’ is as humanely funny a comedy as it is a strikingly stylized thriller.
A heart-stopping group portrait, ’20th Century Women’ is a bittersweet existential triumph, expanding coming-of-age for every generation.
Ava DuVernay’s ’13th’ is an urgent, vital testament of black history; ‘Manchester by the Sea’, a devastating dramedy of grief. Our latest dispatch from New York Film Festival.
Our first dispatch from the 2016 New York Film Festival, Lena digs into the fragile and lunatic delights of Jim Jarmusch’s ‘Paterson’ and Joao Pedro Rodrigues’ ‘The Ornithologist’.
As Telluride by the Sea kicks off, Damien Chazelle’s Los Angeles musical ‘La La Land’ casts a kaleidoscopic spell that never lets go.
‘Always Shine’ is an intoxicating Lynch-by-De-Palma psychological study of female friendship, identity and the sexist exclusivity of celebrity.
As scattershot as could be expected, anthology film ‘Madly’ exudes a distinctly dreamy tone and sumptuous visual texture across six bewildering shorts.
‘The Lobster’ is a deliciously designed, achingly funny dissection of overly modernized concepts of love, and the damage they inflict upon the real thing.
An unexpectedly conventional film for Apichatong Weerasethakul, ‘Cemetery of Splendour’ feels teasingly mesmerizing, but too comfortable to astonish.
‘Arabian Nights, Vol. 3′ fully realizes profound, challenging empathy of Gomes’ trilogy, a culturally specific, yet universally compelling masterwork.
Despite its narrative restraint, ‘Arabian Nights: Vol. 2’ gathers profound political potency through piercing empathy for the socio-economically devastated.
‘Arabian Nights, Volume One’ kicks off Miguel Gomes’ immense Portuguese odyssey with furious creative energy and restless activism.
Encapsulating the garage music scene without losing itself to it, ‘Eden’ is a luminous, heartrending film about the life-altering pitfalls of passion.
Paul Thomas Anderson’s ‘Inherent Vice’ is an intriguing, riotous dope noir that nonetheless feels emotionally inaccessible.