At the center of Nadav Lapid’s hilarious, disjointed, and unpredictable dramedy lies the age-old theme of identity and what defines it.

Featuring a liar whose gaslighting, imperious denials, and finger-pointing make her the equal of any man trying to avoid responsibility for fouling the family nest.

Methodically and steadily, writer-director François Ozon builds an efficient and damning case.

The question about watching La Flor, one of the more exceptional films in recent South American cinema, shouldn’t be if but when.

Well-observed moments and strong performances give the movie unexpected staying power.

Rojo intentionally mimics the look and grammar of cinema from the 1970s and looks amazingly retro, but it’s much more than a movie that emulates a certain way of filmmaking and storytelling.

Featuring an ex-con from gritty Glasgow with Nashville dreams, played by a-star-is-born Jessie Buckley.

Conventional is not the adjective that usually defines Carlos Reygadas’s semi-abstract and allegorical work. In that regard, his new film is an atypical surprise with mixed results.

The most desolate and hopeless setting outside of dystopian fiction can be found in Matteo Garrone’s new film.