Joshua Reviews James Longley’s Angels Are Made Of Light [NYFF Review]
This portrait of life in Afghanistan is a nuanced look at the state of being in a region shrouded by conflict.
Joshua Reviews Ron Mann’s Carmine Street Guitars [NYFF Review]
Despite its quiet demeanor, Carmine Street Guitars is a moving portrait of a singular artist with a singular history in New York City.
Joshua Reviews Gabriel Abrantes And Daniel Schmidt’s Diamantino [NYFF Review]
Opening this year’s NYFF Projections lineup is one of 2018’s great debuts, an uneven but transgressive satire with bite.
Joshua Reviews Gaston Solnicki’s Introduzione all’Oscuro [NYFF Review]
Gaston Solnicki returns with a moving look into the life of a legendary art film figure and a fallen friend.
Joshua Reviews Eva Vives’ All About Nina [Theatrical Review]
After a rocky opening act, All About Nina goes from heavy-handed look at a standup trying to make it in the business and becomes a nuanced portrait of a woman dealt a bad hand in life, trying to find a place in the world before it swallows her up for good.
Joshua Reviews Jonathan And Elan Bogarin’s 306 Hollywood [Theatrical Review]
This strange, profoundly moving look at a life lived and the objects left behind is a thrilling experiment in non-fiction filmmaking.
Joshua Reviews Daniel Petrie’s A Raisin In The Sun [Blu-ray Review]
This legendary screen adaptation of the groundbreaking Lorraine Hansberry play finally arrives on Criterion Collection DVD and Blu-ray, and is a solid, context-heavy dive into one of the most culturally significant films of its generation.
Joshua Reviews Roger Michell’s Tea With The Dames [Theatrical Review]
This new documentary sees four of the great actresses of stage and screen in conversation, and is as witty as it is flatly made.
Joshua Reviews Adina Pintilie’s Touch Me Not [Theatrical Review]
The winner of this year’s Golden Bear, Touch Me Not is a thrilling blurring of the line between fiction and non-fiction filmmaking, a docu-drama hybrid that’s as claustrophobic as it is emotionally devastating.
Joshua Reviews Paul Weitz’s Bel Canto [Theatrical Review]
Despite being led by two truly great actors, Bel Canto is, sadly, a flat misfire.
Documentary Filmmaking In 2018: From Hagiography To Bisbee ’17
Through three documentaries opening this weekend, we look at the current state of documentary filmmaking.
Joshua Reviews Helene Cattet And Bruno Forzani’s Let The Corpses Tan [Theatrical Review]
A riff on Italian crime films of the 1970’s, Let The Corpses Tan is a gorgeous, unwieldy experiment in genre filmmaking.
Joshua Reviews Emmanuelle Finkiel’s Memoir Of War [Theatrical Review]
This adaptation of a beloved WWII memoir is a haunted meditation on grief and loss.
Joshua Reviews Andrew Bujalski’s Support The Girls [Theatrical Review]
Mumblecore grandfather returns with his most commercial work to date, and also one of his most mature and moving.
Joshua Reviews Bertrand Mandico’s The Wild Boys [Theatrical Review]
This transgressive look at gender and sexuality is one of 2018’s great debut feature films.
Film Society Of Lincoln Center Hosting Career-Spanning Germaine Dulac Retrospective
One of the great female pioneers of silent cinema, Dulac’s career is one of experimentation and worthy of historical re-evaluation.