Natalia Keogan

The stylistic intentions of PVT Chat welcome not only a rigorous examination of our own personal proclivities, but a sincere respect for the boundaries inherent in the sexual inclinations of others.

Andrew Bujalski, the filmmaker behind “mumblecore” touchstone Funny Ha Ha and tender workplace comedy Support the Girls, tackles unexpectedly embittered subject matter alongside unique pandemic challenges with There There.

A propensity for conventional cinematic formulas aside, Dream Horse thrives as a pleasing drama that keeps the story compelling and showcases talented actors in refreshingly wholesome roles.

The film climaxes with several spinning plates that crash in a delightful crescendo

Though Assayas is best known for his incisive cultural commentary, the subdued regimes and musings in Suspended Time are just as enthralling in their own quiet way.

The resulting film is nonetheless a wonderfully thorny exploration of primordial desires for connection, destruction, and stability. Don’t expect any genuine relationship advice, but also be warned that this is not a glib exercise in aimless edginess.

Zoë Kravitz playing an endearingly awkward agoraphobe is always entertaining to watch, and often elevates the film in spots where it otherwise might flounder.

The gritty, glowing neon textures of the ‘80s cover practically every frame of director Cody Calahan’s Vicious Fun, a horror-comedy caper that lovingly sends up the era’s genre tropes while never breaching egregious self-indulgence.

A fantastically frenetic performance from Dianna Agron, a truly chilling central entity and interrogations of Jewish heritage elevate Clock (and the potential of further monstrous motherhood stories) above otherwise lackluster competition stateside.

Interested in interrogating the exploitation of fantasy and imagination for human consumption, Shaw’s psychedelic, patently adult animated feature brings daydreams into the pointedly violent and bleak reality that its genre contemporaries are privy to ignore.

What’s present is so incredibly promising that it’s almost disappointing the film doesn’t wrestle with something bigger than bullying.

Far more interested in unpacking the pervasive misogynistic sentiments in Kosovo than the actual war itself, the film is pointed in its chosen observation, but appears remiss of broader political engagement.

Though it remains true to the first part of the text’s unhurried pace and detailed world building, Villeneuve’s adaptation feels overlong and void of subtext.

Compared to the stark comparison in Camperforce of Jeff Bezos’ unparalleled global wealth to the fact that nearly one-third of American households headed by people 55 years and older have no pension or savings to their names, Zhao’s Nomadland can’t help but come off as somewhat toothless.

The Pink Cloud explores the often reactionary nature of humans, especially when tasked with imagining a future completely uprooted from convention.

An intimate drama about a family disbanded by abuse, Montana Story is superbly acted, but lacks a formidable narrative capable of carrying its protagonists.

The film acts as a giallo thriller, a modern update to Lizzie Borden’s Born in Flames and the latest entry in Brazil’s anti-Bolsonaro fantasy canon. Yet for all of these fascinating themes and well-executed nods, Medusa still feels narratively slight.

Bolstered by a sharply competent central performance as well as darkly intoxicating shots of an ancient city, Zeros and Ones is an act of artistic abstraction that is mostly rewarding in its ambiguity.

While Lawrence and Henry imbue each scene they share with oscillating doses of humor and melancholy, the final product feels somewhat strained and stunted, particularly in its investigation into the hellish reality of actively trying to heal.

What remains so compelling about O’Connor is that she actually used her popularity to challenge powerful institutions well before anyone else was even remotely comfortable with doing so.

If Catherine Called Birdy falters at any point, it’s during the film’s conclusion.

Those unfamiliar with the director’s penchant for narrative opacity might find Music falling on deaf ears. For those up for the challenge, there are splendid moments of visual poise to soak in, but little to actually take away in terms of tangible storytelling.

Well-known for penning the scripts for Adam Wingard films like You’re Next and The Guest among other recent horror-thrillers, Barrett retains the essence of his previous writing collaborations in his directorial debut while paying constant homage to the films that inspire this specific project.

Joel Coen’s Macbeth lacks risk, ingenuity and, most importantly, reward. For those who seek a safely satisfying rendition of the lean Shakespearean tragedy, this latest execution will surely suffice.

Apples’ metaphorical backbone feels malnourished, its focus ever-inclined toward careful imagery as opposed to unraveling its inherent mythos. Nonetheless, Nikou’s debut offers interesting insight into the human psyche as it relates to memory and personhood while hinting at the fractured national identity of Greece itself.

For all of its lackluster holy leanings, Demonic still achieves an air of abject horror, aided in no small part by Ola Strandh’s electro-exorcism score. The demon’s design is also consistently terrifying, whether it is enveloped in a neon-soaked backlight or morphing into unpredictable and increasingly abominable versions of itself.

The premise itself might seem like one set up for failure, but Monday manages to stray away from the petty voyeurism of blow-out fights in order to convey something deeper about love and relationships.

While the script co-written by Kusijanovic and Frank Graziano is hardly revelatory, Murina is nonetheless a strong directorial effort from a first-time feature helmer.