Three recent releases centered around the death of or injury to horses has got us thinking about empathy towards animals on screen.
A drama tracking the aftermath of a moral and legal crisis, The Children Act is clean, couth, and devastating, but only on cue.
Hao Wu’s documentary looks at a group of people who make their living from a Chinese livestreaming platform.
We speak to filmmaker Scott Barley about filming on an iPhone, the spectral qualities of cinema, and Death Grips.
The latest from Karyn Kusama is a brutal, hard film, never surrendering to a cathartic moment of softness we secretly crave.
The Green Fog is a delirious homage to one of the most famous and most lauded films ever made: Alfred Hitchcock’s Vertigo.
Peter Strickland’s hilarious fashion-centric horror-comedy is one of the most stylistically ambitious and genuinely overwhelming movies in recent memory.
The latest film from Bruno Forzani and Héléne Cattet is a Corsican free-fire ballet playing out against Bleu-de-France-saturated skies.
The Brazilian drama from directors Juliana Rojas and Marco Dutra works best as an engaging film about love and class, rather than the genre film it eventually becomes.
Nathaniel Kahn’s art-doc is fixated on finance but struggles to make any salient points about the development of value in art.