As anyone who has made a great-author biopic (or even watched one, for that matter) can tell you, writing is among the hardest professions to make cinematic. The slow churn of ideas, the second-guessing and self-editing, and even those rare, exhilarating surges of creative flow are all part of a stubbornly interior, usually static process.
Against the rubble gray and stiff mahogany with which director May el-Toukhy washes out her post-Second World War Copenhagen, the pops of crimson in “Woman Unknown” announce a stark symbolism that’s about as subtle as the red swastika eventually smeared on the front door of protagonist Marie (Mathilde Arcel). As obvious as these subliminal scarlet
The screen is usually a canvas, but it becomes a window to an enormous room in Wim Wenders’ latest 3D documentary, “From Inside Out – The Architecture of Peter Zumthor.” Within that room unfolds the tale of the Swiss architect of the title, told in occasionally laborious ways. It spends much of its two-hour runtime
One of the key moments from Lee Chang-dong‘s last film, 2018’s “Burning,” still glows bright in the memory. A girl mimes eating a tangerine, and explains the knack for making it convincing: don’t try to pretend there is a tangerine, try to forget there is not. It’s a little zen koan that rhymes imperfectly in
Susan Sarandon said she’s “still had movies taken away recently” over her outspoken support of Palestine. At the Venice Film Festival press conference for her new film “The Echo Chamber” on Sunday, Sarandon was asked if she thinks the narrative is changing in Hollywood when it comes to the conflict in Gaza. In 2023, the
Some of the main breakouts of Swiss cinema in 2026—and the few years that precede it—share one striking commonality: they are either entirely in English or feature large chunks of English. Think Petra Volpe’s Locarno-winning “Frank & Louis,” Damien Hauser’s festival darling “Memory of Princess Mumbi,” Denis Rabaglia’s buzzy “Butterfly Stroke” and, of course, Tim
