NYFF 2018: Transit
In transit, relationships are evacuated of any real meaning, identity is rendered deliberately superficial and interchangeable, and what little the immigrants do own they carry with them.
Changing the Conversation: On First Reformed
First Reformed deploys a host of Protestant self-punishing trappings and conventions to fabricate a seductive spectacle out of white male guilt and self-pity.
Like Me
It’s quite easy to condemn teenagers when they publish a series of transgressive videos on Youtube just to get clicks. But sometimes, video clips go viral without an attention-seeking motive. The 2017 film Like Me juggles the relationship between this un-beseeching fame and its spiraling negative effects. It also entertains the idea of how reality...
Wild Boys
Four strutting teenage boys played by four strutting teenage girls compose the magnetic centerpiece of Bertrand Mandico’s heady debut feature, Wild Boys (Les garçons sauvages), which had its New York premiere on February 24th at The Film Society of Lincoln Center. Supremely bizarre, extraordinarily thoughtful, and operating according to a brilliant and idiosyncratic logic all...
Women Reply
Varda’s portrait offers a corrective to the oftentimes even more egregiously inadequate representations that preceded it . . . it’s clear that it isn’t so much women that warrant reinventing, but our understanding of womanhood itself.
Motherhood, Friendship, and Selena: An Interview with Nellie Killian
Guest programmed by Nellie Killian, “Tell Me” centers on intimate nonfiction films by and about women—and complicates the question of how, exactly, womanhood is understood and defined.
The Best Movies of 2017
Welcome to our annual year-end poll of the best films of the year, coming to you only one month late! This year’s poll of contributors and friends of the magazine resulted in a landslide victory for Hong Sang-soo’s November release On the Beach At Night Alone, which had a 9-point lead over our number two pick. In...
NYFF 2017: Two Films from Hong Sang-soo
His two works feel like culminations in other ways too, messing with Hong’s usual structures while asserting themselves as two of the most deeply personal and mysterious entries in his filmography
NYFF 2017: Wonder Wheel
Through her character, and her sneakily masterful performance, we can navigate the film as an intensely confessional work by its director.
NYFF 2017: Lover for a Day
It’s an incredibly poignant, if rather confused, meditation on the multiple valences of love and fidelity from an intergenerational perspective.
A Gentle Creature
Despite the significant changes made to the original story’s plot, the film preserves the written text’s cold and detached tone towards the investigation of a tragedy, maintaining a suspenseful tension throughout.
NYFF 2017: Lady Bird
Lady Bird is about this kind of adolescent wandering: the way people, especially young people under lots of social pressure, look for containers in which to construct identities.
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