On Friday, the first part of the Soderberg-lensed Che gets […]

I recently caught up with Alice Braga by phone. We […]

Ramin Bahrani is part of the Iranian diaspora called second generation. Having lived in America most of his life, his first film Man Push Cart got him major nods on the festival circuit. And the festival buzz is a good buzz. It sustains a filmmaker. It helps that his sophomoric work opus Chop Shop was well received at the Director's Fortnight in Cannes two years ago, too. Bahrani is off to Venice to present Goodbye Solo, you could say the final chapter of his trilogy about men who surrender themselves to a half-contented life of work and solitude.

There’s a weariness about Harmony Korine as he stands against […]

Last year’s Salt Kiss, a short film about old friends […]

Chiara Mastroianni’s career is defined by a discerning, though perhaps […]

It wasn’t until 1996 when Parfait Amour, her fifth feature film, was released that critics finally lauded Catherine Breillat. The foundation for her magnum opus seems to have sprung from her first novel, L’Homme Facile, written in the riled voice of a young woman subjugated by a man’s fantasies. In this and other stories, Breillat's theory of the sexes treads along a narrative of defiance and challenge, but does not abnegate sexual taboos--at times, she even accepts them.