All of our stories are coming of age stories, no matter how old we are, and the beauty of a great coming of age story is that by the last act our hero has done that which we all desire: become their whole selves.
Like the rest of the world, African countries were in turmoil for the greater part of 2020. African film was not.
It’s not important to distinguish what is truth and what is fiction in Crestone; the collapsing of these boundaries is what gives Marnie Ellen Hertzler's documentary the same sense of apocalypse we've felt this past year, perceptively real in its feeling of unreality.
Along with being a damn entertaining ride, an understanding of the vital intimacy between women makes Emerald Fennell’s Promising Young Woman feel gorgeously, confrontationally female.
First Reformed and The Good Lord Bird can best be linked by a common, disheartening truth: the more things change, the more they stay the same.
Given their diverging contexts and plots, Beanpole and Swallow may not always share perspectives on issues, but the issues their stories pivot around are curiously the same.
The Good Lord Bird turns Bible-thumping bombast and difficult, complex American history into an engaging tale of love, heroism, righteousness, honesty, and genuine belief in the American experiment.
PEN15 always captured my own distinct subspecies of early-‘00s teenage awkwardness with horrifying and delightful accuracy, but I don’t know if it got sadder in 2020 or if I did.
The directors of Mank and Ma Rainey's Black Bottom practically jump into the frame as they attempt to author something of a revision to the source material. But these directors differ significantly, particularly with regard to what they find unsettling and how best to capture it.
How do you begin to tackle the subject which has overthrown any semblance of normalcy in your life? How do you begin to write into that monster which has grown tall enough to lock you in its shadow indefinitely?
Dick Johnson Is Dead wisely holds the mystery of human mortality with a generous open hand, affirming our pain while reminding us of grace.
In His House, the spirit haunts, inhabiting space the same way a thought takes up residence in the mind. Worry, fears—these are ghosts. There and not there. False and yet very real.