Reviews

Look both ways: three new publications of Chris Marker’s texts expand our understanding of him as a multimodal artist, as attentive to the formal qualities of cinema as to matters of prose, graphic design, and civic issues

Hands up: it’s been a feeble year for horror, and a batch of high-profile summer releases—A Quiet Place: Day One, MaXXXine, and Longlegs—offer scant remedy

Sing me back home: Angela Schanelec's Music is a hypnotic reverie about hands and feet, landscapes and bodies, gazes and gestures, and people suddenly lifting their voices in song

Fable or foible: Yorgos Lanthimos’s triptych applies his bloodless style and bloody fixations to the Aesopian form

Summer's end: Annie Baker's filmmaking debut locates poetry in the interstices, inviting the viewer to experience the passage of time in company with her characters

Look again: in Kiyoshi Kurosawa's films, reality is remade, subtly but radically, so that the world eventually becomes its own doppelgänger

Running on empty: Furiosa boasts all the spectacle and speed of Fury Road, but little of the story momentum, little of the surprise

Serve and volley: Luca Guadagnino’s Challengers is a tennis love triangle where the building tension between the players is consistently frustrated by their physical separation—a basic rule of the sport

Fire and brimstone: in Alex Garland’s Civil War, the CGI spectacle is bombastic and the politics conveniently vague

Wellness check: Nicolas Philibert’s new documentary On the Adamant is the latest in a long line of film portraits of hospitals, including films by Frederick Wiseman, Claire Simon, and others