Portside

Chie Hayakawa's raw and sobering debut imagines a near-future Japan in which the elderly are encouraged to volunteer for euthanization. The scariest thing about Hayakawa’s film isn’t its familiar depiction of a society that privileges human output over human dignity, but rather its soft dystopian sketch of a society that’s able to soft-shoe around dehumanization and/or sell it as an act of grace.

Making art in all its everyday glory: In their latest movie together, Michelle Williams and director Kelly Reichardt paint a portrait of an artist who’s a real and wonderful piece of work.

First Wave wants us to feel a sliver of the same fury and impotence and eventually, occasionally, mercifully, even the same catharsis that frontline workers were confronted with every day when this nightmare was at its worst.

“The Harder They Fall”, the dynamic black western, corrects the historical record. Manifest Destiny may have been a uniquely Anglo-Saxon concept, but white people weren’t alone in the westward expansion that followed the Civil War.

So exuberant and full of life that it would convince you movies were back even if they hadn’t gone anywhere, “In the Heights” is the kind of electrifying theatrical experience that people have been waxing nostalgic about since the pandemic began.

Shot on three phones over three years and across hundreds of miles, "Midnight Traveler" takes us inside a desperate journey for a new home.

"Joker" is bold reinvention of 'superhero cinema' and about the dehumanizing effect of a capitalistic system that greases the economic ladder, blurring the line between private wealth and personal worth until life itself loses its absolute value.