The most dangerous person inside Sam’s secluded vacation home may be the one holding a knife. The camera is less...

Reykjavík’s possible destruction enters The Fires through graphs, helicopter surveys, and arguments about public messaging. Ugla Hauksdóttir’s feature debut treats...

Cinque Terre first appears under a light so generous it borders on accusation. Terraced vineyards descend toward the sea, painted...

Helge Gerull’s camera rises and sinks with the tide until the horizon itself seems unreliable. The movement gives The Bay...

The outdoor pool leaves nowhere for Inken to hide, which is precisely why the film keeps returning there. Under Monika...

Walt Manigan leaves prison carrying himself like a man who expects every doorway to close. At a parole hearing, he...

Daniel Ashford keeps his telescope controls in a bunker beneath the family property, a fitting arrangement for a man whose...

The first act of violence occurs inside a celebration designed to affirm communal belonging. A frightened boy, dressed for his...

Arinzo’s survival should destabilize every room before she enters it. Instead, The Return of Arinzo spends much of its running...

Clyde Best speaks about crossing the Atlantic at 17 with roughly the same dramatic emphasis another man might use to...