Despite the changes that Cahiers du Cinéma has undergone over the years, its legacy still carries some critical authority—enough, at least, that its apparent endorsement of Weston Razooli’s debut feature, Riddle of Fire, which graced the cover of its Cannes issue back in May, was enough to convince me to see the film.

By Alexandra Zawia Sono Sion’s cinema is marked by disproportion. Taking great pleasure in busting through form and conventions, his films are often regarded as being “too” everything: too loud, too violent, too implausible, etc. Why Don’t You Play in Hell? is all that, and much more. Its entertainment value defies any rational analysis, and…

By Violeta Kovacsics One is tempted to see The Station as a sort of remake of The Thing, as the landscape is quite similar to that of John Carpenter’s Arctic classic, and so is the plot: a group of people working in a snowy weather station in the middle of the Alps are threatened by…

By Kiva Reardon “Men in their 20s are the worst thing happening on our planet,” said comedian Rob Delaney; given the evidence of Afflicted, the debut feature from Derek Lee and Clif Prowse, the same could be said of cinema. A horror film that unfortuntately lacks any real dread, gore or suspense, Afflicted follows filmmaking…