8 pieces
A year after The Brutalist swept its technical categories and divided audiences, its length has stopped looking like a gamble and started looking like the point. An argument for the long film in a short-film decade.
Ten months on, Ryan Coogler's 1930s Mississippi vampire film doesn't just still hold up, it looks like the clearest sign in years that the studio auteur movie is not dead. A field report from inside the juke joint.
Fifteen months after Shōgun's historic Emmy sweep, and with a second season confirmed, it's worth asking what the show changed about prestige TV, and what it didn't.
Colin and Cameron Cairnes's Australian indie horror, shot as a 1977 late-night TV broadcast gone wrong, is the rare genre exercise whose formal commitment pays off at every level.
Steven Zaillian's eight-episode Netflix adaptation of Patricia Highsmith was the quiet prestige show of April 2024. A year later, its patience has only looked smarter.
Ti West closed his X/Pearl/MaXXXine trilogy in July 2024 with a film that tries to be several kinds of movie at once. A year later, only some of them worked.
Alice Rohrwacher's 2023 film about a British grave-robber in 1980s Italy is the kind of quiet, strange, specifically rewarding film that the American art-house circuit was once built to deliver. It still can.
Jeff Nichols' motorcycle-club drama was held up by distribution chaos for a year, then released in a summer that did not know what to do with it. A case for the slower film.