Wren’s identity flickers as she tries to find her feet, and we soon learn that her cool mystique has little underneath.
It’s a beautiful story of a woman’s friendships, her wants and dreams, and her love for the Cuban dance danzón. (AEL: 4/5)
A treasure trove of interviews with influential bands and footage from performances, featuring Alice Bag Band, Black Flag, the Germs, and more. (AEL: 4/5)
This is a movie about all kinds of connections: between one’s wants and needs, between loyalty and dependency, between the insular world formed by addiction and the outsiders who cross paths with it.
The film introduces us to the sensory experiences of their perilous routine: silent, diligent group chores; unknown threats on the horizon. (AEL: 5/5)
The film is filled with absurd and sometimes fantastic images; a layer of unexpected tragedy keeps the viewer riveted. (AEL: 4/5)
Through this critical look at the arguments around the practice, the film presents a compelling discussion of women’s needs, concerns, and dreams. (AEL: 4/5)
Writer and director Marzieh Makhamalbaf explores womanhood in Iran, complete with its yearnings and losses.
The film is a passionate portrayal of intersectionality and injustice within a fictional social world that looks a lot like our own. (AEL: 4/5)
I’ve joked before that I’ll always want to watch a movie about two friends in their twenties facing existential growth and discomfort. And it’s true! I would.
A haunting visit into the lives of patients in a facility for people with leprosy in 1960s Iran.
XXY is about wielding love over fear, about parents realizing that “wanting the best” for their children sometimes means something unexpected.
Antonia’s Line is a female-focused fairytale from the mid-1990s that transports viewers to a quaint Dutch village where Antonia builds a multi-generational eclectic family.
It’s remarkable to have a film with no men present that is entirely focused on women simply existing together. But more importantly, the way that it deals with aging and mortality is unique.
Full of conversations from the center of action at organizers’ meetings and on picket lines, the documentary gives a vivid picture of the mineworkers’ lives and dreams. (AEL: 4.5/5)
Expertly directed by Lina Wertmüller, the film is full of stunning visuals, even if it’s a difficult watch for a modern audience.
This movie is about friendship, but also xenophobia, class warfare, and the necessity of cooperation for survival. And this complexity makes the movie feel expansive, and leaves me thinking about it days after seeing it. (AEL: 4.5/5)
Vitalina Varela tells the story of a woman who arrives in Lisbon after the death of her husband, and subsequently tries to disentangle the history of his life there without her. (AEL: 4/5)
Following a mysterious car accident in the desert, Dafne suffers from post-traumatic amnesia. Jake, the first person she sees when she regains consciousness, tells her he’s her husband. You Go to My Head opens 2/14. FF2 review coming soon!
Stuffed is a documentary about taxidermy. It sounds grim, and it definitely is. But it’s also quirky and beautiful, and the people who do it are incredibly refined in their craft. (AEL: 3.5/5)
The animated revival of The Addams Family is perfect for celebrating the fun and light side of Halloween spook (any time of year). (AEL: 3.5/5)
In Fiddler: A Miracle of Miracles, writer-director Max Lewkowicz and writer Valerie Thomas illuminate the rich history behind the classic musical, unpack its artistic influences, and explore the sources of the story’s universal power. (AEL: 4.5/5) Review by Contributing Editor Amelie Lasker In one of my favorite sequences in the documentary, many Tevyes are spliced… Continue reading ‘Love, it’s the New Style’: The Triumphant Sweetness of the ‘Fiddler’ Documentary
In The Most Dangerous Year, Knowlton takes a personal approach, telling her own family’s story as well as those of other families in the community. (AEL: 3.5/5)
In Catching Sight of Thelma and Louise, fans and members of the original cast and crew share their experiences with the iconic film. Documentarian Jennifer Townsend enlists a group of fans to explore the film’s funniest and most difficult moments, and to appreciate the cultural significance the film retains. (AEL: 4/5)
From French-Canadian filmmakers Sophie Lorain and Catherine Léger, Slut in a Good Way is a comedy about three friends who start working in a toy shop–one where there are so many cute boys. The film celebrates teen girlhood, sexual freedom, and the special humor shared among best friends. (AEL: 4/5)
With two compelling co-stars and a tight, heart-wrenching plot, Styx is a drama that’s hard to get out of your head. (AEL: 4.5/5)
Thanks to the filmmakers’ handle on the romantic comedy genre, Juliet, Naked is highly watchable, a fun take on a winning premise. (AEL: 3.5/5)
Through a repetitive narrative cycle and an intimate arc portrayed by lead actress Binoche, acclaimed French filmmaker Claire Denis explores how depressing and isolating the search for love can be. (AEL: 3.5/5)
A gentle score and soft, dreamy flashbacks give this film the feel of a period romance, though the story’s loyalty to Lou’s own obstinate personality ultimately makes it a fascinating character study. Well done, Lou Andreas-Salomé! (AEL: 4/5)
Zhao has woven a story that is delicate and visually gorgeous, based on real ambitions and pains in the lives of Jandreau and his family and friends. (AEL: 5/5)