Who could have anticipated that the most fiery and impactful revitalization the western genre has received in years would come in the form of a Chilean period piece about a horseback expedition of mercenaries riding across Tierra del Fuego?
Léa Seydoux completely immerses herself in this demented and sprawling epic romance about missed opportunities.
At a fleet 81 minutes, Aki Kaurismäki’s latest film exemplifies a slim version of the director’s perfected brand of tragicomedy.
Harmony Korine’s new work (don’t call it a “movie”) suggests an episode of Miami Vice filtered through a psychedelic, acid-soaked consciousness.
In one of the most unusual approaches to the heist film genre, this absorbing piece of Argentinian cinema replaces the sense of danger with sophisticated humor.
Todd Haynes’s subtle and delicate film kicked off this year’s festival. It stars Natalie Portman, in one of her most intricate performances.
It’s been an almost routine occurrence to see two of his films included in the New York Film Festival, and this year is no exception.
After three decades, Spanish director Víctor Erice returns with an elegy to cinema.
Jonathan Glazer’s new film is an essential addition to the representation of the Holocaust, and one of the best films of the year.