In some respects, Titane, or Titanium, is why I go to film festivals. Or one of the reasons. This second film by French film director Julia Ducournau (Raw) is an encounter I’d...Read More

Arnaud Desplechin’s Deception, which showed in the new, non-competitive Cannes Premieres section, is everything you wanted to know about Philip Roth and more. Way more. At least more than I wanted...Read More

Red Rocket stays right inside Sean Baker’s wheelhouse — the sex industry workers, professional, amateur, haphazard, casual or casualties that inhabited Starlet, Tangerine and The Florida Project before. There’s just no victory or dignity in the...Read More

Over at the high end of the marketing continuum is Mothering Sunday. The story is set post World War I.  In service to the Nivens, (Olivia Colman and Colin Firth), is...Read More

The early ‘80s Brown University Semiotics crew of Todd Haynes, writer-director, and Christine Vachon, producer reached back and pulled together a doc that more than simply captures the renegade Velvet...Read More

Having missed for the last two years—2019 for my daughter’s graduation, 2020 for the collapse of civilization—the most obvious thing to talk about is not my return but the 74th...Read More

In four films Barry Jenkins has established himself as a high artist of the Black American experience. Gaining heft and budget from his success with Moonlight and If Beale Street Could Talk, Jenkins...Read More

Having just come through the Labor Day turn in the film festival world, which is still picking its way through the pandemic with a mix of in-person and virtual screenings,...Read More