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
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
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
Blurred lines: Mark Jenkin’s mind-bending slice of purgatorial folk horror vividly depicts the psychological dissolution of a woman living in isolation on the windswept moors of a tiny Cornish isle
Nightlight: C.J. “Fiery” Obasi’s new feature is a black-and-white West African folk tale in which the actors glow against a backdrop of ocean and forest
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
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