At sea: Tsuchimoto’s docs about the pollution crisis in Minamata, Japan are must-see case studies for a contemporary world faced with its own “disasters of disinvestment“
Hot air: Alejandro G. Iñarritu’s semi-autobiographical fever dream, Bardo, False Chronicle of a Handful of Truths, is essentially an overstuffed, self-indulgent concoction
Dig it: the happenings at Copenhagen’s Rigshospitalet remain as strange and bitingly funny as ever in The Kingdom Exodus, the anticipated third season of Lars von Trier’s series
Industrial strength: the new mega-sequel struggles with both the loss of its predecessor’s leading man and the roteness that afflicts any entry in the self-perpetuating Marvel Cinematic Universe
Face the past: The Tamil filmmaker’s latest is an intricate, star-studded period epic, and yet another triumph in an extensive filmography characterized by a masterful blending of convention, innovation, and integrity
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
The good old days: in Armageddon Time, James Gray offers a new, messily autobiographical spin on his career-long preoccupation with the complexities of family and the quest for autonomy
Through the looking glass: Jafar Panahi’s No Bears offers a timely story about the real and imagined borders—national, social, religious—that constrict the freedoms of Iranians
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