Even within the rich history of Iranian cinema, Jafar Panahi’s films stand out. His movies are often defined by the limitations of the production. As many filmgoers already know, the Iranian government imprisoned Panahi inRead Full Review

Josh O’Connor is a hard-working man. He gained attention in the 2017 indie film God’s Own Country before gaining mainstream awareness in his Emmy-winning turn as Prince Charles on  Netflix’s The Crown. Since then, he’sRead Full Review

Since experiencing the online ridicule and corporate betrayal that was The Last Jedi fallout, filmmaker Rion Johnson has only directed Benoit Blanc mysteries. He’s also, of course, written and directed two seasons of Poker Face,Read Full Review

Looking at the arc of Noam Baumbach’s career, it’s been pretty fascinating to watch the evil boomer dads that headlined his scripts in The Squid & The Whale and The Life Aquatic with Steve Zissou,Read Full Review

One may look at the premise for Blue Moon – a real-time dramedy about Lorenz Hart monologuing against the dying light – and feel it’s too constrained; better set for the stage than for theRead Full Review

Richard Linklater is a filmmaker defined by his refusal to be defined. He’s one of the most beloved figures of the 90s indie revolution, but has proven quite capable of producing good Hollywood films. He’sRead Full Review

In Train Dreams, co-writer/director Clint Bentley gives us a lush view of a quaint American life. The power in the storytelling comes in the contrast between the seeming ordinariness of our protagonist and the vastRead Full Review

Guillermo Del Toro’s transition from superlative genre master to awards season mainstay happened – for the most part – without Del Toro sacrificing the seedier elements of his creature feature obsessions. Still, it’s hard notRead Full Review

In his last three films, German director Edward Berger has established himself as a superlative stylist. All Quiet on the Western Front was a deadly serious literary adaptation that announced Berger to the world becauseRead Full Review

Hedda allows us to see a Nia DaCosta untethered to various Hollywood IP. After her excellent debut film, Little Woods in 2017, she resurrected the 90s horror film Candyman in 2021, before directing the mostRead Full Review

Seeing A House of Dynamite two weeks after Paul Greengrass’s The Lost Bus really puts some unexpected shine on Greengrass’s ability to pass boilerplate Hollywood screenwriting for verité docudrama. In any universe, Kathryn Bigelow isRead Full Review

Few filmmakers feel more coded to the early 2000’s than Paul Greengrass. His handheld verité style lent itself well to the emergence of digital cinematography that “democratized” the filmmaking process and gave many directors aRead Full Review