Jude’s dark and critical humor thrives on a diet of such fatal irony and the seemingly innocent ways in which words contradict actions and values. In his latest feature, a municipal worker, Orsolya (Eszter Tompa), must evict a homeless man (Gabriel Spahiu) from the boiler room of a building slated for demolition to make way for a new hotel.

Our greatest hits this year include food monsters, three-and-a-half-hours on the dance floor, special effects lost to time, legendary films never made, and more.

Walking into Ruth Asawa: A Retrospective an exhibition co-curated with the San Francisco MOMA, feels like entering a gothic cathedral, its piers and ribbed vaulting inspired by the forests.

In La Grazia, Mariano De Santis, the fictional president of Italy has rescued his country from buffoonish past rulers, and now, eight years after his wife’s death and seven years into his presidency, he is facing the end of his term and old age. Three fateful decisions remain on De Santis’s desk: two pardons for murderous crimes of passion and a bill supporting the legalization of euthanasia.

Covering our favorite dystopian metaphors in 1984 and Dracula, filmmakers, like Raoul Peck and Radu Jude, grapple with how art can take a stand against injustice. I recently caught a few films that grapple with the global political slant toward radical conservative ideology.

Kelly Reichardt makes movies like Edward Hopper paintings set in motion. Her latest feature, The Mastermind, which premiered at the 63rd New York Film Festival and opens in theaters on October 17, is no exception. Although its plot might strike you as beyond the auteur’s typical fare, its style flourishes under Reichardt’s touch.

This inaugural annual list features stories not so much about movies but rather about the act of watching a movie and the (often dark or dimly lit) spaces in which we enjoy them.

A work of literature by a nineteenth-century German writer and a Roberto Rossellini film from the mid-twentieth century work together to take us on a guided tour of museums—all while we fangirl over Ingrid Bergman.

We at the Brooklyn Rail want to give you the worst FOMO of your lives and tell you what you won’t see, can’t see, or may never get more than one chance in your life to see (streaming subscriptions be damned). With advice from our contributors, we present you Volume III of the “Greatest Films You’ll Never See.”

Matt (Matt Johnson) and Mara (Deragh Campbell) were once the best of friends back in undergrad, but, although pursuing similar career paths (Matt as a superstar emerging author and Mara as a creative writing professor), they lost touch. When Matt suddenly reappears, Mara reexamines her friendship, her romantic life, her marriage, her profession, and her creative craft.

The subtle current of passion pulsing through Three Seasons is like lying close enough to someone to hear their heartbeat—it’s a soft and quiet film, but one that draws you in intimately. Each story is about searching or seeking, but Bui evades easy trajectories.