I would be cautious in labeling “Gladiator” as flawless and completely fulfilled cinema. 

Maxxxine has tonal flaws, abruptly shifting from believable drama to absurd slapstick.

Luca is a cinema of comfort. A cinema of delicate gestures, dealing with balance, the formation of identity, and reminding of the value of every...

The strongest asset of Day One is that it doesn’t follow the beaten and proven path but seeks something new.

Japanese cinema presents numerous challenges when attempting a comprehensive analysis, description, and extraction of valuable conclusions.

It might have seemed that the creative possibilities for Inside Out 2 were unlimited.

Parthenope is everything you love and hate about Paolo Sorrentino’s cinema.

Baker is not just a “representative of the American New Wave.” With his previous Red Rocket and this year’s Anora, he proves to be a one-man...

Coralie Fargeat either went too far in “The Substance” or ascended to an artistic Olympus.

“Kinds of Kindness” feels like a sketch, a film exercise done in between larger projects. It can be a reflection on rejection and...