MacKenzie and Collier set the scene with evocative imagery of the complex machinery that makes these carpets, weaving thousands of threads into the banal tapestries we traipse upon every day. “It is the canvas on which all the other art rests,” says Lew Migliore, one of the many colorful figures whose livelihood is found in

Still, “birth/rebirth” is in no way an adaptation of the novel. I haven’t seen a faithful adaptation of the novel yet. With a male doctor, the horror of creation is about abandoning your creation. To me, it’s funny that when women do it, they have to raise it together. [laughs] They don’t get to abandon

Feña’s New York odyssey brings to mind movies like “After Hours” or “Do the Right Thing,” where a character crosses many people in a short span of time, an experience intensified by the city’s density. But the film’s always-on-the-go pacing resembles more of “Tangerine,” Sean Baker’s film about two trans women of color in Los

Thorndike’s film wears its inspiration on its sleeve, from the snowed-in hotel linked to a seemingly inevitable descent into madness to a scene across the hotel bar. And “Bad Things” is something of reinvention, with male patriarchal madness turned to traumatic female rage and family units spun into the intersection of relationships and friendship. But

Writer and director Zoya Akhtar and her frequent creative partner Reema Kagti created the anthology drama series “Made in Heaven” back in 2019 to question, critique, and, yes, celebrate the effort that goes into an Indian wedding. Sobhita Dhulipala and Arjun Mathur lead a phenomenal ensemble cast as Tara Khanna and Karan Mehra, respectively, best friends

A lifeless Sophie Okonedo plays her boss, Nomad, who recruited her when she was 20 years old. Why? We have no idea! Did she have training beforehand, or was she trained once recruited? “Heart of Stone” doesn’t care.  Netflix stock actor Matthias Schweighöfer plays “Jack of Hearts,” Rachel’s tech aid, who is always plugged into a supercomputer

But Marianne has a secret. She’s actually a journalist working undercover. She has heard about the “crisis” of unemployment, of the “invisible” population of people struggling in these precarious jobs with no stability. She wants to make it real for herself; she wants to not just see it with her own eyes but experience it.

Director Matthew López makes an impressive feature debut with “Red, White & Royal Blue,” a love story that skillfully blends the familiar beats of a classic movie romance with the distinctive details of two of the world’s most public young men trying to keep their relationship private. Adapted from Casey McQuiston’s best-selling book, the film is about a

Orson (Jon Hamm) is the newest employee at the cheekily-named The Authority. He’s a typical benumbed office cog with a muted brown suit and flat disposition to boot. Working in the offices of The Authority, he encounters gossipy, unfriendly coworkers and a droning boss. He doesn’t mind if he sticks to his schedule and completes

Ben is a failed film student who spends his days managing an arthouse movie theater and watching Criterion discs such as Ozu’s “Good Morning.” He can’t fathom a world where he isn’t the prime arbiter of taste. Much to his chagrin, however, Ben loves white women. His attraction is tested when he hires the oddball