What if the entire population of a given place was made up of artists? Marfa, Texas is a place where you can find out.
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The documentary My Name Is Pauli Murray introduces us to the activist and spiritual leader the world forgot.
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Through footage that has never been seen before—and that sat in a basement for 50 years—this documentary gives visibility to the healing and radicalizing gift the festival brought to the neighborhoods of Harlem.
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It’s honestly kind of surprising this documentary hasn’t been made before
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The real demon in Bad Hair the normative standard of white beauty. When you scream, whether you realize it or not, you’re screaming at the horrors of white supremacy.The real demon in Bad Hair is the normative standard of white beauty. When you scream, whether you realize it or not, you’re screaming at the horrors of white supremacy.
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If you’ve got to be trapped in the same day for all eternity, you at least want to be able to lounge in an infinity pool, right?
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50 First Dates manages to say something novel about this “meaningless, meaningless life” we life we live, as time-loop movies make so abundantly clear.
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Scott Derrickson, director and screenwriter of The Exorcism of Emily Rose and Doctor Strange, has a conversation about storytelling, the horror genre, and the creative process.
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Uncut Gems is electric,If you can tap into it quickly, you can ride the current right up until it arcs off the screen and into your skull, at which point you can either let it continue through your body warming your every cell or you can switch off and just wait for it to end.
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Ford v Ferarri is a story of how a team of underdog idealists prevailed working within the stifling climate of an immense corporation. It’s a story about what it costs an idealist to work within an institution.
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Marielle Heller has previously made movies about thoroughly unlikeable people and dared audiences to sympathize with them. Here, she dares us to believe kindness of this sort is possible.
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A common trope of faith and film writing is that the cinema is a “sacred space.” In Martin Scorsese’s The Irishman, the theater becomes a confessional.
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Robert Eggers is back with The Lighthouse, another unsettling time warp into the dark recesses of American folklore.
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In this way, the film manages to stay focused on the particularities of Bazan’s story, but it does so by setting this one man’s personal journey against the backdrop of a series of broader shifts.
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