Diego Semerene

Much of Rebecca Zlotowski’s ‘Other People’s Children’ is spent in this space of vulnerability we could call the feminine position.

Zackary Drucker and Kristen Lovell’s 'The Stroll' is overtly broad, detached, and full of ready-made empowerment rhetoric.

'The Eternal Memory' slowly reveals the personal loss of the ability to remember as inextricably linked to the loss of national memory.

Nuri Bilge Ceylan’s 'About Dry Grasses,' consistent with 'The Wild Pear Tree,' is essentially a story about being stuck.

In writer-director Claire Burger’s tender and surprisingly funny third feature, 'Langue Étrangère,' language is forever foreign.

'Another End' frustrates as much as it fascinates for the way it leaves all sorts of questions hanging in the air unanswered.

Kevin Macdonald’s 'High & Low: John Galliano' is a public relations exercise masquerading as a substantial fashion profile.

'Banel & Adama' is ultimately most memorable when it forgets to push the story forward and wallows in the allegorical registers of its images.

The film blooms in moments where, instead of literally addressing Coco's gender trouble, we’re simply allowed to inhabit it.

It’s Not Me begins with a modest “I don’t know” as a riposte to a proposed riddle.