Director Davy Chou’s second movie is an adoption story for an age of ambivalence.

Films from Charlotte Wells and Lukas Dhont aim for intimate, almost imperceptible moments of connection rather than a grand affirmation.

Alice Diop’s courtroom drama is a story of aspiration and cruelty in a racist society.

Is “Infinity Pool” too Cronenbergian?

The election denial propaganda film was praised by the likes of Donald Trump and Marjorie Taylor Greene—and utterly tanked at the box office.

The Netflix adaptation of Don DeLillo’s novel makes a thoroughly American spectacle of suffering.

“All The Beauty And The Bloodshed,” Laura Poitras’s documentary about Nan Goldin, is part portrait of the artist, part exposé.

Stephanie LaCava’s novel and David Cronenberg’s film “Crimes of the Future” each imagine a world without pain.

In a new film about the Harvey Weinstein exposé, the protagonists argue that the problem is the system, not one man in particular. The movie itself ignores the lesson.

“Our America” presents a mournful, terrible, exhilarating, and honest tour of the United States.

Nikyatu Jusu’s portrait of a nanny’s breakdown fuses horror and social realism.

In Ruben Östlund’s satire, the amusements of the moneyed elite belie a foundation of violence, cowardice, and shame.

In Amazon’s take on The Lord of the Rings, the hero is a fanatic, ceaselessly seeking out potential threats.

The internet demands that women project desirability—at a level formerly reserved for movie stars.

“Sharp Stick” has all the hallmarks of a Dunham production. That’s the problem.

In his new thriller, race, ambition, and legacy intersect to force a family to lean into danger.

A new Jane Austen adaptation dares to ask: What if “Persuasion” took place not just in the early nineteenth century but at wine o’clock?

As the streaming wars intensify, the tech giant increasingly resembles the hidebound movie studios it once aimed to “disrupt.”

Audrey Diwan’s film recreates a woman’s isolating, wrenching efforts to get an abortion in France in the 1960s.

How movies about the political system fell in love with cynicism and messaging