Instead of adding any nuance or complexity to representations of India and Indian characters, Lion traffics in obnoxious generalisations and harmful stereotypes.
Ingrid Goes West shares the inspiration of an increasingly technology-centered society, offering a different kind of contemporary twist on the thriller genre.
We spoke to Xu Bing about his lengthy career as an artist, and what inspired him to make an entry into cinema.
Martin McDonagh’s third feature is his best yet, a sharply observed film about division in America.
We spoke to Panoptic-director Rana Eid about filming painful histories, the collective process of reflection filmmakers in Lebanon are undertaking, and how her background in sound informed her debut feature.
Theo Anthony’s debut feature documentary RAT FILM looks at Baltimore through a discursive documentary lens akin to Harun Farocki and Chris Marker.
Pedro Pinho’s narrative debut is easier to admire for the scope of its ambition than it is to necessarily enjoy.
For the first piece in our Clip Art series, Luke Goodsell writes on Michael Jackson’s “Ghosts”, a thrilling and sinister work that showcases the artist at his most complex and culturally engaged.
Martin DiCicco’s debut feature documentary follows the day-to-day lives of track workers in Armenia and Azerbaijan.
Alice Lowe’s pre-natal horror Prevenge shies away from biting commentary, content with absurd bloodlust.
We spoke to John Carroll Lynch about the filming Lucky as an intimate piece about Stanton’s life, working with a cast and crew devoted to the actor, and making a film about mortality in such proximity to reality.