To Gaspar Noé’s credit, this edit does not feel more conventional than its predecessor. It is, however, revealing to watch, and not for reasons Noé intends.

A droll comedy/drama of an Arab village in Israel stuck in limbo.

The film nimbly becomes a thriller without shedding its established rhythm. Before you know it, the tone has turned uncomfortably ominous. 

The austere setting of the Icelandic tundra gives Godland the visual trappings of a man vs. nature story. However, it is more complex than that.

This frenetic and nerve-wracking movie makes the point that for many, it’s worse than a jungle out there.

In Ira Sachs’s brusquely told new film, the libido-led story line supported one of the festival’s best films.

A talky, heady, and metaphorical courtroom drama conceals depths of sadness beneath its intellectual and legalistic surface.

Currently serving a prison sentence in his native Iran, lauded director Jafar Panahi spins two and a half tales in his latest film. None reflects well on his country’s state of mind.

Both The Fabelmans and Last Film Show pose the mystery of why some become so enamored with movies and filmmaking.