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A few minutes after my screening of Lightyear started, a mom and a young girl — I’d guess she was maybe 10 or 11 years old — arrived at the theater, and sat down right next to me. At first I was annoyed because I’m a germaphobic weirdo and I like to keep a little space around me at the theater these days if at all possible. This mom and daughter didn’t even leave me a buffer seat. For a…
if my imaginary mind kids screamed at me so they could half-sing some boo boo fucking ice cream song with absolutely no coordination i’m putting them up for imaginary mind adoption. i invented you little shits. why are you bad at literally anything
at one point a kid in front of me got so bored he started doing a headstand in his seat which would normally be annoying but in this case was the most entertaining part of the movie
From his days as a critic at Cahiers du cinéma, where he specialized in new f/x-driven movies and the hypermodern cinema coming from the Pacific Rim, Olivier Assayas has been a figure uniquely attentive and responsive to the changing face of the world and human relationships, in an ever-more-closely connected globe that revolves around the 24/7 circulation of capital. While no longer a young upstart, he remains the most breathlessly contemporary of filmmakers, even when addressing period subjects. Following the Cannes…
As with our first film The Strange Little Cat (2013), which is about a family reunion that takes place on one day in one apartment, in The Girl and the Spider we again take a familiar, everyday scene as the film’s starting point. This time, it’s about moving house.
Our exclusive Q&A with Alexis Langlois, where we discuss his two films showing exclusively on MUBI, TERROR, SISTERS! and THE DEMONS OF DOROTHY. Stream them here.
On films that look beyond testimonials and instead interrogate the citizen-resident's lives in relation to refugee crises.
Our mini-series of Pride-inspired Friday Night Film picks concludes with Peter Strickland’s kinky melodrama THE DUKE OF BURGUNDY.
LaCinetek is decked out in the colors of the rainbow and celebrating Pride Month with a selection of 30 landmark works of queer cinema.
Manoj Bajpayee is one of the finest actors of our generation. His foothold in Hindi cinema has spanned both the commercial (Satya and Shool) and the independent (Kaun and Pinjar). The most striking feature of his varied filmography is how well he consolidates the nuance in his body language even when the films he acts in are unquestionably mediocre. He managed to do something incredibly unique through his sheer skill- to make us think through his humour.
The short documentary BEIRUT DREAMS IN COLOR directed by Michael Collins (and co-produced by Arab Film Festival alum Sarah Kaskas and her production company Karaaj Films) just became available for free online via The Guardian. It is a film about the Lebanese indie-rock band Mashrou' Leila and about being queer in the Arab world.
La película, que clausurará la 12ª edición de Atlàntida Mallorca Film Fest y se estrenará en cines y en Filmin el próximo 30 de septiembre, nos descubre la fascinante figura del artista catalán Oswald Aulestia, uno de los mayores falsificadores de arte del mundo.
Gaspar Noé's latest provocation, the experimental movie-within-a-movie Lux Æterna, is now playing in select theaters, and is scheduled to screen this weekend at the Webster University Film Series. Critic Andrew Wyatt has a review:
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