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National-Anthem-(2024)

National Anthem (2024)

In 2020, photographer Luke Gilford published National Anthem, a monograph documenting the queer community in the International Gay Rodeo Association. The photographs are arresting and beautiful. Gilford grew up in the Southwest and loved rodeos as a kid. But the culture itself–macho, often homophobic–didn’t include him. He left the rodeo culture behind, until he discovered

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Lumina-(2024)

Lumina (2024)

There are bad movies, there are really bad movies, and then there’s “Lumina,” a film so breathtaking in its overall incompetence that one starts to wonder if it’s not intentionally so in the hope of being the next “The Room” or “Birdemic.” How else to explain some of the laughable shot choices, inconsistent characters, nonsensical

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Made-in-England:-The-Films-of-Powell-&-Pressburger-(2024)

Made in England: The Films of Powell & Pressburger (2024)

At the beginning of “Made in England: The Films of Powell & Pressburger,” Martin Scorsese recounts how he first encountered the works of the legendary filmmaking duo of Michael Powell and Emeric Pressburger as a child under perhaps the worst conditions imaginable on his family’s black-and-white television in substandard and edited prints that made hash

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Sorry/Not-Sorry-(2024)

Sorry/Not Sorry (2024)

Produced by The New York Times‘s video division, and depending heavily on its own reporting, “Sorry/Not Sorry” is a primer on the rise, fall and reinvention of Louis C.K. A respected standup comic who remade himself as a low-budget arthouse confessional filmmaker, he became the writer, director, producer and lead actor of the semi-autobiographical FX

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Sisi-&-I-(2024)

Sisi & I (2024)

Let’s get one obvious thing out of the way: Yes, it hasn’t been that long since we’ve had a feature film on the Empress Elisabeth of Austria, commonly known to public as Sisi. That film was Marie Kreutzer’s “Corsage” (2022), starring a stiff-lipped and often (aptly) unsmiling Vicky Krieps as the much-tormented 19th-Century royal. A

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