Emerson Goo

Garden of forking paths: Yui Kiyohara’s latest follows the intersecting paths of three women, in the process painting a portrait of their town as a ruin in the making

Time fades away: on the occasion of Shinji Somai’s ongoing retrospective at the Japan Society, critic Emerson Goo offers a primer on the director’s audacious, and enduring, filmography

Sunset cruise: the visual splendor of Albert Serra’s paranoid island epic elides and effaces the material reality of his setting's residents

Remote viewing: fest highlights like The Tuba Thieves and Gush reimagined the visual and sonic experience of cinema

Multi-tasking: Edward Yang’s 1994 ensemble piece, A Confucian Confusion, wryly weaves references to the ancient philosophy into a relentlessly busy big-city network narrative

Masked and anonymous: a traveling shorts program takes a renegade approach to the legacy and loss of Philippines’s film heritage

Together forever: Alice Diop’s We is an associative tour of working-class suburbs, a meditation on the varying visions of French nationalism, and a grappling with the slippery politics of representing the underrepresented