On Manchester by the Sea and the weight of grief.
Arrival purports to have a circular structure itself, through the use of flashbacks and forwards, but subsequent viewings reveal it to be linear by way of a palindrome.
How can I put into words what it’s like to see your very soul—ragged and yearning—scattered across the screen?
One has to peel back a few layers of accreted cultural criticism to get to what The Witch actually is, as a film.
Seeing Sing Street by myself in a cold Chicago spring was yet another act of self-care.
The place where womanhood and parenthood meet is marked by a complex and intrinsically difficult set of rules and understandings.
Andrea Arnold is forging a kind of egalitarian filmmaking, where the individual efforts of each and every collaborator pull equal weight.
The Nice Guys’ mean streak—springing from its noir roots—seems worth emphasizing as we reach the end of what was, for many, a bruising year.
Even though the spaces between the women in Certain Women are vast, Reichardt allows us to see how much they need one another.
The mind stutters when it encounters loss. Trauma is the great em dash of the mind’s storytelling impulse. This tension — between the comfort of meaning and the volcanic disjunction of emotion — troubles every frame of One More Time With Feeling.
The staff of BW/DR list their favorite films from 2017.
