Tuesday, June 18, 2019 at 7:00PM Thanks for all your last minute votes for the Supporting Actress Smackdown of 2001. The Smackdown and its podcast companion will be up this Thursday so let's meet the panel after the jump...
Saturday, May 25, 2019 at 7:03AM At Cannes the "Competition" titles get most of the press but there's another competition that runs parallel each year which often hides films that are just as strong --some years critics argue that they're stronger. Nadine Labaki (Capernaum) presided this year over the jury judging the 19 films in "Un Certain Regard." That's the program Cannes officials often throw distinctive or high quality films from newer filmmakers in since they reserve the main competition for (mostly) legendary auteurs or Cannes mainstays.
UN CERTAIN REGARD PRIZE
THE INVISIBLE LIFE OF EURIDICE GUSMAO (Karim Aïnouz, Brazil)
We first started tracking this picture because it's from the queer Brazilian director Karim Aïnouz who made Futuro Beach, a movie that we liked at the time but obviously undervalued as it really lingers in the memory (I still find myself thinking about it regularly 5 years later). His new film, which won the hearts of Labaki and her jury, also features the legendary Fernanda Montenegro but hers is, alas, a supporting role...
Saturday, May 4, 2019 at 9:31PM Team Experience reporting from Tribeca Film Festival which wraps up tomorrow. Here's Nathaniel R
Of all the titles that I most looked forward to at Tribeca's 2019 edition, You Don't Nomi was at the top of the list. The debut documentary from Jeffrey McHale examines the cult fandom and critical rehabilitation (of sorts) surrounding Paul Verhoeven's trash-masterpiece Showgirls (1995). And readers, I was not dissapointed so much as seething with envy while watching it...
Saturday, April 20, 2019 at 5:00PM 
The Film Experience is very pleased to announce that one of our long-lost contributors, Michael Cusumano, is returning to the fold. After a few years off, he has a new weekly column launching Tuesday and new readers are in for a treat because Michael is a fine and insightful writer. We asked him about where he's been and what we can expect. Please welcome him back with open arms! - Nathaniel R.
Michael, where the hell have you been? We haven't seen you around these parts in 4 (gulp) years! We hope you've been having film experiences without us at least.
I’ve been living in New York doing my own creative writing. I needed to take a step back from online film culture and clear some mental space. I had tried to write a first draft of a screenplay and I ended up with a ranked list of all the meaningful glances in Carol.
You’ll be relieved to learn I still have plenty of film experiences, although I no longer feel the pressure to stay up to date with everything playing...
Monday, April 1, 2019 at 9:00AM Please welcome new contributor Tony Ruggio...
Have you ever wondered why Film Twitter is more fickle than critics? If you spend a reasonable amount of time there you’ll find deep pockets of hate among many non-professional critics for critical darlings as varied as Birdman, La La Land, even Black Panther. Critics, often dismissed as snobs or "the elite", actually appear to enjoy more films per year than other journos, pundits, and regular Joe or Jane cinephiles on social media. Critics are the only animals in our film bubble ecosystem who are forced to watch everything, even the bad ones. Others might skip the latest Adam Sandler romp or Netflix original dump, but critics (many of them anyway) see it all and I'm here to argue that it gives them perspective. Bad movies have a place, and can serve an under-discussed purpose, and that purpose is encouraging a greater appreciation for what the Inarritus and Andersons of the world are putting out there.
Art is subjective, yes, but most of the time we know a BAD movie when we see it. On the heels of SXSW, I was drowning in good cinema. Between Captain Marvel the week before, Jordan Peele’s near-masterpiece Us, and a few little gems I could find nowhere else, the festival had given so much yet deprived me of a proper palette cleanser. London Fields was it, a gonzo film noir so inept and ill-advised that I was left more than a little awestruck...