Words can't do justice to the repugnant milieu of German's adaptation of the Soviet sci-fi classic Hard to Be a God. It's filled with disease, blood, shit, and endless fighting, serving as a dark reflection of humanity's base proclivities.
Jay and Mark Duplass have made names for themselves with the endearing hyperrealism of their mumblecore films. Now, the brothers are writing a new TV series, which follows the tribulations of 30-somethings trying to make sense of their adult lives.
Why do music industry awards shows regularly ignore albums and artists beloved by knowledgeable music fans? Here are a few theories.
Striving for perfection can drive you insane, but I didn't realize just how insane I'd become until I watched Darren Aronofsky's film.
Peter Strickland's latest film is an insightful, layered look at relationships that contains a few conversation-starting scenes.
Stinking Heaven is the sardonic new comedy about recovering addicts who reside in a chaotic self-run sober-living home that sells kombucha out of a van.
Leonard, star of Pete Livolsi's hilarious new short, is a little slow. Literally, Leonard lives his life in slow-motion, while everyone around him lives active, normal lives.
Party Monster is packaged as a fairytale-like moral lesson on the true price of excess. I always found its camp, trashy spirit remarkably addictive, and it forced me to rethink my own beliefs on elitism and success.
In his new movie, director Michael Mann strips action-flick conventions down to their core elements and reconfigures them into something more abstract and visceral.
The author of the novel The Beach and the screenplays for 28 Days Later and Sunshine directed a bleak new movie about technology, consciousness, and sex.
The new short from Swedish auteur Ruben Östlund takes a mundane moment of everyday life and deftly dissects the various peer pressures, fears, and egos at play.
Greg Barker's documentary takes an in-depth look at an exceedingly complex global phenomenon—the Arab Spring.
It wasn't the graphic sex scenes that made me uncomfortable, but how it forced me to confront my fear of heartbreak.
"I think it's good to think of the film as, like, that moment when you wake up in the morning and you've been drinking the night before."
You know Alex Karpovsky as Ray Ploshansky, the sardonic coffee shop manager in Girls. For the past decade, however, he's also acted and directed numerous projects in America's independent film scene.
Skin, by Jordana Spiro, captures a simple young coming of age of love story where a young taxidermist longs to connect with his fantasy girl, but instead stays distanced from her.
"Any time a new book of Pynchon's has come out—at least since I've been around—it's like I hang the 'Do Not Disturb' sign on the door and don't come out until it's done."
Meredith Danluck sits down with the filmmaker to talk about his new surf noir, an adaptation of Thomas Pynchon's 2009 novel. He also shares an exclusive trailer.
We talked to Abderrahmane Sissako about his new film, Timbuktu, a much-lauded humanist drama set against the sharia occupation of Northern Mali in 2012.
The artist, animator, and curator has directed videos for Big Boi and Hooray for Earth and had his work shown on Adult Swim. His surreal output is helping to usher in a style that is both very real and totally synthetic at the same time.
The film tells a simple story about a girl who passed out in a guy's apartment after a party and refused to leave the next morning. It's one of the best shorts of the year, filled with subtlety and humor.
Australia's film industry is generally good for a few standouts, but if you're going to take in the years as a whole, it's difficult to remember one that was better than 2014.
I spoke with the film's co-director Sarah Kernochan about why the Academy Award–winning doc was lost for three decades, and how it was found again.
VICE spoke with the award-winning director and her collaborator, Scott Z. Burns, about their new film on the illegal ivory trade industry, which purportedly finances terrorist organizations.