Monday

20-10-2025 Vol 19

Day: September 6, 2025

Venice Film Festival 2025: Broken English, The Wizard of the Kremlin, No Other Choice, In the Hand of Dante

I left the 82nd Biennale of film gratefully exhausted. And to be honest, my gratitude and my exhaustion were of…

Back to Duality: James Sweeney and Dylan O’Brien on “Twinless”

Stop me if you’ve heard this one before, though that seems unlikely: two guys walk into a twin bereavement support…

Robert Daniels & Odie Henderson Talk “Highest 2 Lowest”

The following is a conversation between Robert Daniels and Odie Henderson conducted over email about Spike Lee’s “Highest 2 Lowest,”…

TIFF Review: Bouchra is an Aesthetically Bold, Personal Hybrid Animation

Based on a real-life conversation shared by co-director Meriem Bennani and her own mother, Bouchra (co-directed with Orian Barki and…

TIFF Review: Palestine 36 Offers a Great Breadth of Knowledge and History

You almost believe Amir (Dhafer L’Abidine) wants the village perspective when asking his chauffeur Yusuf (Karim Daoud Anaya) to explain…

Venice Review: Pietro Marcello’s Duse Serves a Straightforward Tribute to a Legendary Prima Donna

In 1921, three years since the end of WWI, a train departed the small town of Aquileia in northeastern Italy.…

Telluride Review: The Bend in the River Aches For What Was and May Never Come Again

The Bend in the River, director Robb Moss’ third installment in his running chronicle of his friends’ lives (following The…

Venice Review: Gus Van Sant’s Dead Man’s Wire Offers a Good Time at the Movies

Gus Van Sant returns with Dead Man’s Wire, a movie shot in the same late-70s hues as Kelly Reichardt’s recent…

Venice Review: Pin de Fartie Is a Playful, Head-Spinning Take on Samuel Beckett

Since the early 2000s, the fiercely independent Argentine filmmaking collective El Pampero Cine has built a sui generis filmography by…