CIFF 2022 | ‘One Fine Morning’ review: A welcome addition to the arthouse slice-of-life canon
Mia Hansen-Løve’s intimate character study moves her one step closer to becoming one of her generation’s best writer-directors.
CIFF 2022 | ‘Raymond & Ray’ review: Heartbreak feels good in a film like this
Ethan Hawke and Sophie Okonedo shine alongside Ewan McGregor in Rodrigo García’s new tale of family and forgiveness — or lack thereof.
CIFF 2022 | ‘Decision to Leave’ review: Masterful Hitchcockian neo-noir from Korea’s finest
With far less violence and far more sentimentality than usual, “Decision to Leave” finds Park Chan-wook in a reflective mood.
CIFF 2022 | ‘Return to Dust’ review: Enough with the “poor Chinese peasant” stories, please
Li Ruijun’s arthouse crowd-pleaser is a middling underdog romance at best, and gratuitous poverty porn at its worst.
CIFF 2022 | ‘My Sailor, My Love’ review: Brid Brennan shines in romantic drama done right
Watch out, Richard Curtis — Klaus Härö and his English-language debut film are coming for your rom-com drama throne.
CIFF 2022 | ‘The Novelist’s Film’ review: A soft-spoken ode to the creative spirit
Hong Sang-soo claims yet another Silver Bear for a movie with no shortage of mirth or merriment.
CIFF 2022 | ‘Runner’ review: Stuffy, thankless Midwestern pretentiousness
Who knew first love could be so bland?
CIFF 2022 | ‘The Great Silence’ review: A great snoozefest
Katrine Brocks’s debut feature about faith and forgiveness starts out strong, but soon falls into staid, illogical shambles.
CIFF 2022 | ‘Monica’ review: A bold and bittersweet family portrait
Trace Lysette and Patricia Clarkson helm Andrea Pallaoro’s new drama, forging new paths in the craft of transgender character studies.
CIFF 2022 | ‘Leonor Will Never Die’ review: Martika Ramirez Escobar’s daring metatextual masterwork
Compulsively enjoyable and refreshingly genuine, “Leonor Will Never Die” is a meta-comedy like no other.
CIFF 2022 | ‘A Human Position’ review: A beautiful but insubstantial drama
Anders Emblem’s insular new drama is a feast for the eyes, but ultimately leaves much more to be desired.
‘Amsterdam’ review: A comedy of errors, but not the good kind
David O. Russell’s newest film can’t decide if it wants to be a comedy, a political thriller, or a heartfelt exploration of friendship. It ends up just being a mess.
Of Marxists and Models: In ‘Triangle of Sadness,’ power is a real bad trip
You’ll laugh. You’ll cry. Maybe you’ll projectile vomit. But you’ll definitely have a good time.
Maybe The Real ‘Elden Ring’ Was The Friends We Made Along The Way
Through the fire and the flames of FromSoft's newest release, friendship and community spirit prevail.
Ghosts in the Machine: Trick-Editing, Time Loops, and Terror in ‘No Through Road’
Steven Chamberlain discusses analog horror, careers in film, and the age-old question of, “What would you do if there was a guy with a giant knife walking towards your car?”
Ghosts in the Machine: Archiving the Apocalypse with ‘Gemini Home Entertainment’
The revolution will not be televised — but the end of the world will be, if “Gemini Home Entertainment” has anything to say about it.
Ghosts in the Machine: Examining the Origins of Analog Horror in ‘CH/SS’
Exploring the genesis of analog horror with “CH/SS” and its enigmatic creator, Turkey Lenin III.
Ghosts in the Machine: The Star-Spangled Monsters of Mister Manticore’s ‘The Monument Mythos’
A deep dive into no-budget filmmaking and living the American nightmare with Mister Manticore, creator of “The Monument Mythos.”
Ghosts in the Machine: The Fearful Symmetry of Alex Kister’s “The Mandela Catalogue”
Alex Kister, the fresh new face of analog horror, discusses his unique brand of terror in “The Mandela Catalogue.”
Ghosts in the Machine: An Introduction to Analog Horror
“Ghosts in the Machine” is a column dedicated to analog horror that ran in F Newsmagazine from January to March 2022.