Cool heads prevail: this year’s edition—especially since a recent turn to collective curation—took a typically protean approach, yielding some audaciously uncategorizable and hybrid works
Youth in revolt: in the work the late French filmmaker Jean Eustache, the inexorable pain of living is transformed, through autobiography, into luminous cinema
Sing out: a program at the Academy Museum in Los Angeles showcases the many possibilities of concert movies—both as cinema and as performance—through a range of classics
Screen time: multimedia artist Josh Kline’s sprawling exhibition at the Whitney Museum attempts to untangle climate change, consumerism, and the function of art in the face of catastrophe
Truth content: the latest from Nicole Holofcener, You Hurt My Feelings, expands on the director’s women-centric inquiries into marriage and its complicated demands of candor and companionship
Picture book: this year’s festival kicked off with a swirl of controversy and a dud opening night film, before finding its footing with films like Catherine Corsini’s Homecoming, Cédric Kahn’s The Goldman Case, and others
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
Back to life: Evil Dead Rise, more than other reboots of the franchise, gets closer to squeezing real feelings out of the scenario without ever going soft on the gory trappings
Child’s play: Ari Aster’s latest living nightmare, Beau Is Afraid, stars Joaquin Phoenix as a stunted, paranoid mama’s boy, caught up in a roller coaster of horrors—and is not quite as interesting as one would hope
Resource extraction: the incendiary new Brazilian film Dry Ground Burning is the latest entry in a small canon of lo-fi insurrectionary speculative fables
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