If you build it: a pervading sense of mourning is the most coherent thing about Brady Corbet's The Brutalist, an otherwise largely unfocused and self-important movie
Natural's not in it: the Japanese director discusses coincidence and confusion in his latest, which places the shape-shifting music of Eiko Ishibashi front and center
Don’t look away: the director discusses his debut feature, a disquieting critique of the colonial history of Chile by way of the grand cinematic idiom of the Hollywood western
Straight, no chaser: Alain Gomis’s artful remix of a 1969 French TV interview with Thelonious Monk dissects the casual racism suffered by the musical genius
Let there be light: in the radiant One Fine Morning, Mia Hansen-Løve conveys an auto-fictional tale of grief and new love with disarming and affecting sincerity
Fictional characters: Hong Sangsoo’s latest, The Novelist’s Film, is a work of deceptive minimalism, inflected with themes of aging, mortality, and the high stakes of art-making
Locked in: Gina Telaroli, Inney Prakash, and Steve Macfarlane join to discuss some highlights from the repertory calendar, including series at Anthology Film Archives, MoMA, and Maysles Documentary Center
Shoot your shot: Adam Sandler’s latest features some surprising performances from a host of professional ballplayers and another endearing turn from the Sandman himself
Front lines: the directors of the 1979 documentary on the Industrial Workers of the World discuss the film’s new restoration and its continuing relevance
Approximately infinite universe: Yoko's spectral presence in Peter Jackson's Beatles doc is a reminder of the of the persistence and influence of the avant-garde
Group effort: critics Chloe Lizotte and Ela Bittencourt join to discuss highlights from this year's lineup, including The Tsugua Diaries, Haruhara-san’s Recorder, and more
Time was: this raw, no-frills concert documentary leaves a slightly bitter aftertaste, not entirely unlike the vague regret of a Sunday morning coming down
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