Everything Everywhere All at Once (Daniel Kwan and Daniel Scheinert, US)

By Angelo Muredda / June 21, 2022

Eager to celebrate a theatrical box-office win, Variety recently praised the success of Daniel Kwan and Daniel Scheinert’s equally moving and galling Everything Everywhere All at Once, chirping that its broad appeal beyond arthouse crowds attests not only to adult audiences’ willingness to return to theatres for the right sort of movie, but also to the fact that “ticket buyers really love the concept of a multiverse.”

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Sound of Metal (Darius Marder, US)

By Angelo Muredda / April 5, 2021

Entering Riz Ahmed in the disability cosplay sweepstakes as a young drummer coping with hearing loss, Darius Marder’s Sound of Metal originated as a lightly meta vehicle for husband-and-wife sludge-metal duo Jucifer to be directed by Derek Cianfrance, with whom Marder co-wrote The Place Beyond the Pines (2012). That the final result is more surprising than the rote uplift narrative suggested by its edifying logline is a testament to both Ahmed’s cagey intensity…

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A Glitch in the Matrix (Rodney Ascher, US)

By Gabrielle Marceau / March 25, 2021

In 1977, Philip K. Dick gave a speech titled “If You Find This World Bad, You Should See Some of the Others,” in which he revealed that many of his dystopian novels weren’t the products of his imagination or dreams, but came from recovered memories of actual alternate worlds. Dick was entirely sincere, and this realization plagued him. Footage of this speech (and of Dick’s skeptical French audience) punctuate Rodney Ascher’s A Glitch in the Matrix, which explores the psychological and cultural impacts of that moment when science fiction seeps into our reality.

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Compliance (Craig Zobel, US)

By Adam Nayman / June 24, 2012

By Adam Nayman In a 2007 interview with Filmmaker magazine, Craig Zobel opined that “there’s something sexy and cool about being a scam artist…it just never fully lets you empathize with the person on the other side of it.” He was referring to the fact that his debut feature Great World of Sound (2007) included…

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Moonrise Kingdom (Wes Anderson, US)

By John Semley / June 24, 2012

By John Semley Kubrick has his monolith, Lynch his voyeur peering through the closet door, Spielberg his countless shots of faces wide-eyed and slack-jawed, awash in the wonder of some off-screen astonishment, all images that singularly apprehend broad authorial sensibilities. It’s been hard to narrow in on any one characteristic image that defines the cinema…

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