Carson Lund

It’s the hints of danger, employed like ghost notes in a shuffling rhythm, that lend the film its sneaky depth of feeling.

Ethan Hawke's concentration on Seymour Bernstein isn't a betrayal of his own ego massaging, but rather an attempt to have a genuine soul-bearing conversation.

If not exactly an endearing experience on the whole, Irma la Douce is a fine example of Billy Wilder’s mid-career eccentricity and cosmopolitan curiosity.

The film navigates a tricky space between pathos and absurdity and often turns on a dime from one to the other.

Out 1 is largely a film of conversation, as its prolonged rehearsal vignettes regularly give way to even lengthier scenes of verbal self-analysis.

Hamaguchi arranges most sequences around a handful of static, roomy medium shots that subtly suggest emotional dynamics through camera and actor positioning.

Rather than eliciting surprise and wonder, Roy Andersson channels his full stylistic arsenal in search of something far more delicate: a recognition of the sublime in the prosaic.

The Juniper Tree’s peculiar pedigree as an American indie fueled by European arthouse tropes and constructed with a flair for the avant-garde and the handmade marks it as a welcome rediscovery.

Even as it entertains increasingly far-fetched detours, the film's folkloric narrative offers an ideal vehicle for this pictorial play.

If it’s an ungainly variety, it doesn’t suggest directorial sloppiness, but the warmth of oral tradition as it dances around a cluster of themes (belonging, redemption, reconciliation) with the vigor of a yarn spun, porter in hand, alongside an open fire.

The film celebrates the unrecognized willpower and perseverance that undergirds low-wage service work in this country.

Richard Linklater's film luxuriates in a world that's the platonic ideal of youthful indulgence.

In Andrei Tarkovsky’s The Sacrifice, the distance from hope to despair is a short jump—a chasm crossed with the help of something so immediate as a television transmission.

The film’s reminder of the fragility of agrarian traditions in the face of a merciless profit motive is delivered with tact and subtlety.

Even 48 years after its release, and well into Dylan’s current phase of relative transparency, D.A. Pennebaker’s Dont Look Back retains something of a forbidden quality, a feeling that we shouldn’t be privy to the things it shows us.

In My Room often exhibits an interest only in the accruing of incidents, giving it a this-happens-then-this-happens quality that defiantly eschews psychological shading.

In every scene, the film's cutting is dictated by the turbulent pace of the characters' inner lives.

Its utter indulgence in esoterica paradoxically leaves it most vulnerable to the beating heart of this great artist of self-therapy.

It’s in certain characters’ trajectories that the Ross brothers locate the tragic soul of the bar.

This is a sports tale in which the character building has almost nothing to do with the sport.

It's a shame that the José Luis Guerín film's verbal qualities far outpace its formal attributes.

Joel Potrykus's droll world is defined by feats of man-child pettiness, by lazy guys who turn the banalities of daily life into meaningless trials of integrity.

The absence of anything traditionally "painterly" reflects an ambivalent attitude toward the kind of capitalistic pro-growth machinations on display in the film.

The film’s unifying theme is the egocentrism and inevitable violence of masculinity.

Ray & Liz generates pathos through its detailed attention to its characters' attempts to find permanence and meaning in a fundamentally unstable reality.

In a future where the plagues of civilization have only evolved into new shapes and sizes, it asks, in a roundabout way, if there’s anything worthier of exploration than our own relationships.

Only in focusing so thoroughly on the normal does Paul Harrill’s film stumble upon the paranormal.

The experience of watching Dominga Sotomayor’s film is not unlike entering a stranger’s dream without an anchor.