Tomris Laffly on Jafar Panahi for It Was Just an Accident

Time and again, Jafar Panahi’s films accomplish the extraordinary: you will feel enriched and changed, thanks to the deep reserves of humanism in his movies since his delicate 1995 debut, The White Balloon. If you engage with his later filmography, starting with 2011’s unclassifiable This Is Not a Film — …

Sam Adams on Benicio del Toro for One Battle After Another

There are supporting performances and there are load-bearing ones, turns so essential to a movie’s existence that without them the whole structure might crumble to the ground. At first glance, Benicio del Toro’s Sergio St. Carlos might seem a mere sidekick, the buddy who gets One Battle After Another’s Bob …

Jordan Hoffman on Ronald Bronstein and Josh Safdie for Marty Supreme

The movie is called Marty Supreme, but it could be called MARTY SUPREME!!! Josh Safdie’s latest is a 149-minute tornado of explosions, exaggerations, ejaculations, and extremity. Its climactic, everything-on-the-line ping pong battle dazzles with daring strikes and breathtaking returns — no doubt a physical manifestation of how Safdie and longtime …

Siddhant Adlakha on Autumn Durald Arkapaw for Sinners

Great Hollywood films are like symphonies: their intimate grace notes take on greater significance against grand orchestral backdrops. It’s fitting, then, that a cinematographer like Autumn Durald Arkapaw, who excels at composing images for music videos, is the eye and steady hand behind Ryan Coogler’s Sinners, the year’s most polyphonic …

Sheila O’Malley on My Undesirable Friends: Part I—Last Air in Moscow

“When will these dark times pass? How much longer do we have to endure this?” These anguished questions, asked by one of the journalists featured in Julia Loktev’s five-and-a-half-hour My Undesirable Friends: Part I—Last Air in Moscow, have yet to be answered. Loktev shot the film using her phone, and …

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