Weekly Picks
In his tender, deeply New York sophomore feature Late Fame, former NYFF director and critic Kent Jones adapts Arthur Schnitzler's 1895 novella (from a ruthlessly funny script by May December's Samy Burch) about a forgotten poet given a second act by a group of young admirers.
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A furious DIY fusion of hip-hop spectacle, political commentary and Afrofuturist dystopia, Ngozi Onwurah's Welcome II the Terrordome was the first feature directed by a Black woman to be distributed in the UK, except the savage critics couldn't feel its gravity in 1995. Finally getting
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Manhunter: The Final Cut is maybe a misnomer, as the 40th anniversary restoration of Michael Mann's unsettling serial-killer classic is essentially his 2003 Director's Cut with minor trims, extended scenes, and a polarizing color grade that mutes the film's iconic '80s neon
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With a deadpan melancholy to rival Aki Kaurismäki's oeuvre, Carolina Cavalli's The Kidnapping of Arabella is so tonally precarious that it could be called an absurdist buddy comedy, a coming-of-age drama, or a psychological portrait of delusional regret. A chance encounter convinces an aimless
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With the street-level chaos of Kids, the vibey nihilism of Spring Breakers and the analog grime of Trash Humpers, of course Harmony Korine's production shingle (skateboard company?) EDGLRD is behind Barrio Triste. A gang of disaffected teens steals a TV reporter's Betacam to document their
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Documentary filmmaker Ross McElwee once set out to trace General Sherman's destructive Civil War path to the sea. Then his girlfriend dumped him. Growing richer, smoother and more complex 40 years later, McElwee's hilarious and humane Sherman's March has aged like a fine Carolina
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An offbeat hybrid of animation and live action, Meriem Bennani and Orian Barki's autofictional delight Bouchra renders New York City as a CGI-veneered zootopia of anthropomorphized bears, lizards and cows. A lesbian Moroccan filmmaker (presenting as a bipedal coyote, voiced by Bennani) traces her creative blocks and
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Somehow evoking mid-century melodramas, Lifetime psychodramas, Showgirls, as well as Elizabeth Berkeley's diet-pill spiral in that "Saved by the Bell" episode, Maddie's Secret is a delicious treat that doesn't follow comedy recipes. In his directorial debut, cult funnyman John Early
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Buster Keaton begat Jackie Chan, who begat The Raid, which begat John Wick. You're now caught up on the kinetic lineage of stunt coordinator-turned-filmmaker Kenji Tanigaki's Hong Kong action brawler The Furious ("Huo zhe yan"), an electrifying cult classic in the making.
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I joked after the Cannes Fatherland premiere that I'd pay to watch Sandra Hüller read my utility bills, which means Robert Petit's visually immersive jaw-dropper Underland — a phantasmagorical docu-essay on subterranean exploration, poetically narrated by Hüller — is a theatrical must-see. Jumping off from