On fire: at this year’s edition of the festival devoted to rediscoveries and restorations, distinctions between high and low art dissolved into the heat of the air
Going express: the filmmaker discusses his contemporary reimagining of Kurosawa’s classic, working again with Denzel Washington, and what makes New York City such a rich setting and subject
Running on empty: Ari Aster‘s Eddington, Christian Petzold‘s Mirrors No. 3, and Richard Linklater’s Nouvelle Vague fail to be more than mere reflections of their grander ambitions and inspirations
Who shall I say is calling? Two NYFF62 standouts, Philippe Lesage’s Who by Fire and Nicolás Pereda’s Lázaro at Night, masterfully play with the slippage between the real and the fictional
Island time: from the vacation antics of Adieu Philippine to the subtly anti-colonial comedy of The Castaways of Turtle Island Jacques Rozier’s films offer a crucial meditation on the possibilities and limitations of killing time
Things have changed: Beatrice Loayza reports from the festival's midpoint, offering reactions to Jacques Audiard's Emilia Pérez, Jia Zhangke's Caught by the Tides, and Patricia Mazuy's Visiting Hours
The final frontier: the French director discusses his latest, The Empire, which polarized critics at the 2024 Berlinale with its blend of doofy Star Wars references and ambitious formal finesse
Physical graffiti: Yorgos Lanthimos’s Poor Things, starring Emma Stone as a reanimated dead woman, is a ribald, expertly designed, steampunk vision of feminist wish fulfillment—but is it any more than that?
A dog’s life: a fascinating (and frightening) retrospective at this year’s Viennale focused on violent genre films produced in Austria in the 1980s, exemplified by Gerald Kargl’s controversial 1983 serial-killer flick, Angst
Love in the afternoon: the French filmmaker discusses her return to cinema, the productive tension between realism and expressionism, the art of the sex scene, and much more
Virtual reality: highlights from this year's edition include Radu Jude’s Do Not Expect Too Much from the End of the World and Eduardo Williams’s The Human Surge 3, both informed by our digitally-dominated daily life
Double vision: reality isn’t what it's cracked up to be in mid-festival standouts like Jonathan Glazer’s The Zone of Interest, Todd Haynes’s May December, and Justine Triet’s Anatomy of a Fall
Stormy skies: Laura Citarella’s uncanny epic, Trenque Lauquen, is not the kind of detective story whose secrets are explained by hard facts; rather, its pleasures are rooted in the very principle of investigation
Mirror image: Joanna Hogg’s latest—featuring Tilda Swinton in a mesmerizing double role—reimagines British gothic horror with specters both familiar and familial
Face to face: Martine Sym’s firecracker feature debut, in theaters now, abounds in bold text, bolder colors, and wry humor to explore the construction of Black feminine identity
