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Justin Chang

Justin Chang

Film Critic at The New Yorker

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    • Entertainment

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    Recent Articles

    newyorker.com

    Lee Isaac Chung’s Upward Spiral

    Four years after the release of his Oscar-winning drama, “Minari,” the director enters the eye of the summer-movie storm with “Twisters.”
    newyorker.com

    “July Rhapsody,” an Aching Hong Kong Melodrama, Gets a Long-Overdue...

    Now, at seventy-seven, Hui has directed some thirty-odd features across a dizzying range of genres: she’s made historical epics, martial-arts epics, and humanist melodramas, as well as a yakuza thriller (“Zodiac Killers”), a supernatural horror-comedy (“The Spooky Bunch”), and an artist bio-pic (“The Golden Era”). Despite or perhaps because of her narrative versatility, her films have never had the formal flash, vivid stylistic signature, or widespread Western recognition achieved by some of her…
    newyorker.com

    With “Close Your Eyes,” a Legendary Filmmaker Makes a Stunning Return

    In his first feature in more than two decades, the Spanish director Víctor Erice tells a story haunted by the ghosts of cinema past.
    newyorker.com

    The Ghoulishly Retro Pleasures of “Beetlejuice Beetlejuice”

    The director Tim Burton and the actor Michael Keaton resurrect a classic collaboration with supernatural-screwball verve.
    newyorker.com

    How “A Different Man” and “The Substance” Get Under the Skin

    In films starring Sebastian Stan and Demi Moore, the directors Aaron Schimberg and Coralie Fargeat satirize the self-annihilating pursuit of beauty.
    newyorker.com

    “Anora” Is a Strip-Club Cinderella Story—and a Farce to Be Reckoned...

    Sean Baker’s thrilling film, starring Mikey Madison as a New York sex worker, pushes comic misadventure to the brink of chaos.
    newyorker.com

    “Blitz” Uses Classical Storytelling to Advance a Radical Vision of War

    In Steve McQueen’s harrowing film, starring Saoirse Ronan and Elliott Heffernan, London faces threats from above—and from within.
    newyorker.com

    The Gorgeous Mumbai Rhapsody of “All We Imagine as Light”

    Payal Kapadia’s drama of women’s solidarity, a major prize-winner at Cannes, pays radiant homage to a city and its people.
    newyorker.com

    “Wicked” and “Gladiator II” Offer Nostalgic, Half-Satisfying Showdowns

    With a musical return to Oz and a bloody epic of ancient Rome, Hollywood studios double down on blockbuster spectacle.
    newyorker.com

    “Wicked” and “Gladiator II” Offer Nostalgic, Half-Satisfying Showdowns

    With a musical return to Oz and a bloody epic of ancient Rome, Hollywood studios double down on blockbuster spectacle.
    newyorker.com

    “The Seed of the Sacred Fig” Is a Shattering Epic of Reproach

    In Mohammad Rasoulof’s searing film, contemporary social unrest threatens to tear an Iranian family apart.