Ryusuke Hamaguchi’s two new films invite us to settle in and absorb the connections

The spillway of info and opinion, salted with a very Romanian cynicism, plays very much like a stuffed notebook of outrages

New York City’s grand glitter and grime used to come alive on the big screen. What happened?

‘Possession’ is a merciless plunge into psychodrama, a scenes-from-a-marriage in which the spontaneous generation of oozing monsters isn’t the most appalling thing going on

Movie images are ghosts, but eventually the ghosts themselves begin to rot away

She becomes “St. Vincent,” a pampered, high-handed, controlling star. Because pop stardom is fascist — isn’t it? — her audience adopts her black bob.

Carax’s film comes at you in discreet design-chunks and splats of greenscreen surrealism

Gangsters, torture, Fruit-Loopsy-kitsch, hillbillies, accidental immolations, and black-market turtles

The Janus-like split down the movie’s middle — between genre affect and mundane substance — gives it a puzzling integrity; you can’t say the movie isn’t committed to this man and this pig