Across the two features she’s made to date, Payal Kapadia has emerged as a luminous new voice in Indian cinema, exploring the personal as political through her shimmering, empathetic portraits of working-class Mumbai.  Her first feature, “A Night of Knowing Nothing,” opened with unsent love letters, from a film student to her estranged lover, discovered

Attending the Black Harvest Film Festival feels like a rite of passage—a celebration of Black storytelling that captures the spirit and resilience of our community. But as a Black man, it offers something even more profound: an opportunity to escape, reflect, and find solace in shared experiences. This year’s lineup was no exception, showcasing a

“Bringing Out the Dead” does not assert itself as an obviously religious film. and yet, it is borne from the ideological conflict of wrath versus compassion that separates the Old and the New Testament. Here, in the early ’90s, New York is an urban cesspool of sin, destitution, and suffering—it is ready for a biblical

For those unfamiliar, a landman is the public-facing side of an oil company’s production team; their job is to secure leases and mineral rights for oil drilling. As Taylor Sheridan‘s umpteenth show for Paramount Plus would have you believe, it’s a cutthroat job that involves, of all things, negotiating a land deal with a Mexican

“That’s the ugliest thing I’ve ever seen in my whole life!” a little girl (Bethany Simons-Denville) exclaims. She shouts it at the audience, who, in “Seed of Chucky“‘s first-person opening scene, takes a queer kid’s point-of-view. As she throws them into a toy chest, it’s like we fall into a closet. The kid comes out

“Godzilla Minus One” was already one of the best Godzilla movies, for the way it used the kaiju movie template to tell a story that was essentially a sweeping melodrama about surviving wars and other catastrophes. The announcement that it was going to be released in a black-and-white version was tantalizing, and the result is

I’ve seen the original “Godzilla” three times in theaters. Most films benefit from being seen on a big screen, and “Godzilla” especially so: It’s the only way to get a proper sense of scale, even if most movie screens top out at a fraction of the monster’s original 50-meter (164 foot) height. (Tracking Godzilla’s size,

If you notice any aesthetic blemishes on the miniatures in director Adam Elliot’s stop-motion film “Memoir of a Snail,” just know they were left in intentionally. Elliot’s film is all about the importance of embracing imperfections and understanding how life’s tragedies may shape us, but don’t have to define us. This thesis is extended to

Don Hertzfeldt’s “ME” is available on Vimeo On-Demand.  Don Hertzfeldt’s “ME” will feel familiar to the filmmaker’s fans and admirers, with its expressive stick figures serving as our protagonists, its depiction of technological breakthroughs that cause societal disarray, and journeys through time and space that warrant repeated viewings just to take in all the ideas

Mention Quincy Jones to a bunch of people, and I’m sure each person will highlight a different achievement. There are so many milestones that naming them all would take far more space than I am afforded here. Jones was an Oscar-winning score composer, the arranger of great jazz albums by legends like Frank Sinatra, a