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Hyperallergic

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Rating Title | Year Author Quote
Peter Hujar's Day (2025) Eileen G'Sell In the past, I’ve written that Hujar’s portraits capture the “pedestrian peculiar, or the quotidian queer.” Sachs’s film equally achieves this in his own contemplative visual language.
Posted Oct 08, 2025  Edit critic review
Naked Ambition (2023) Eileen G'Sell “Naked Ambition” is compelling when it examines how [Bunny] Yeager’s ebullient photographic approach to female nudity was matched by her rejection of midcentury conservatism.
Posted Sep 24, 2025  Edit critic review
Paint Me a Road Out of Here (2024) Eileen G'Sell At best, “Paint Me a Road” indicts the evil of mass incarceration that, for more than half a century, has intensified racial and economic inequalities across the country. At worst, the film indulges in false equivalences between art and human life.
Posted Sep 19, 2025  Edit critic review
Art for Everybody (2023) Dan Schindel One of a new documentary’s most intriguing strands is the way that brand seemed to eclipse the man, according to his own family.
Posted Sep 19, 2025  Edit critic review
Monk in Pieces (2025) Eileen G'Sell For those unfamiliar with Monk (this critic included), “Monk in Pieces” serves as an apt corrective, a vibrant mosaic of her life and work that both honors her prolific output and celebrates her singular vision.
Posted Sep 19, 2025  Edit critic review
Riefenstahl (2024) Eileen G'Sell Andres Veiel’s documentary about Leni Riefenstahl shows that aesthetics and politics are inextricably linked, and that no image is innocent when wielded by the state.
Posted Sep 19, 2025  Edit critic review
Suburban Fury (2024) Dan Schindel "Suburban Fury" sits with Sara Jane Moore to learn how the politics and culture of the 1970s drove her toward Gerald Ford with a gun in her hand.
Posted Jan 23, 2025  Edit critic review
Obsessed with Light (2023) Eileen G'Sell Directors Sabine Krayenbühl and Zeva Oelbaum provide less an in-depth biography of the trailblazer’s life than a roving chronicle of her impact on the last 100-plus years of creative culture.
Posted Jan 23, 2025  Edit critic review
The Brutalist (2024) Dan Schindel Historically, cinema has invoked the architectural movement as an easy shorthand for villainy. In The Brutalist, though, it embodies a proletarian dream.
Posted Jan 23, 2025  Edit critic review
My Sweet Land (2024) Eileen G'Sell "... [makes US viewers] reckon with the extent to which American ignorance — and indifference — to the conflict is a side effect of ’winning’ the Cold War."
Posted Nov 11, 2024  Edit critic review
There Was, There Was Not (2024) Eileen G'Sell "... The women’s stories alert us to how fragile so many homelands continue to be ... [and] bring Artsakh’s history to the attention of the United States and other audiences with little or no knowledge of this embattled territory."
Posted Nov 11, 2024  Edit critic review
The Ballad of Suzanne Césaire (2024) Eileen G'Sell Merging the filmmaking process with snippets of the protagonist's life and words, "The Ballad of Suzanne Césaire" blurs distinctions between past and present.
Posted Oct 21, 2024  Edit critic review
Onlookers (2023) Eileen G'Sell Immersive, beguiling, and productively unsettling, "Onlookers" confronts the power of the wealthy, predominantly White and Western tourist gaze to intrude on and warp its surroundings.
Posted Oct 21, 2024  Edit critic review
Four Daughters (2023) Eileen G'Sell Inviting viewers to consider our own histories of misogyny — whether conscious or unwitting, expressed or internalized — "Four Daughters" blurs the distance between the personal and cultural, the individual and the systemic.
Posted Oct 21, 2024  Edit critic review
Problemista (2023) Eileen G'Sell Fans of Torres’s whimsical comedy will find much to love in his directorial debut, which takes a fantastical approach to depicting the very real trials of immigration and creative work.
Posted Oct 21, 2024  Edit critic review
Intercepted (2024) Dan Schindel "Intercepted" posits a twinned dialectic between sound and image and between invader and invaded.
Posted Oct 17, 2024  Edit critic review
Youth (Homecoming) (2024) Dan Schindel “Homecoming” It skillfully compresses the five years of the “Youth” trilogy’s shoot, replicating the way that long hours at work and the respite of home can turn into a blur over time.
Posted Oct 17, 2024  Edit critic review
Youth (Hard Times) (2024) Dan Schindel “Hard Times” is the “Youth” trilogy’s odd duck. Though there are no shared characters between the films, it is structurally identical to “Spring” … The heavy stylistic overlap between the two films makes “Hard Times” feel redundant. 
Posted Oct 17, 2024  Edit critic review
Swan Song (2023) Eileen G'Sell The dancers we grow to know (and love) in Swan Song are sweating, swearing, soaring women, at odds with conceptions of purity and frailness.
Posted Oct 17, 2024  Edit critic review
Look Into My Eyes (2024) Eileen G'Sell Uninterested in proving anything definitively, this film instead asserts the complicated humanity of psychic healers, their clients, and the practice itself.
Posted Oct 17, 2024  Edit critic review
Hummingbirds (2023) Eileen G'Sell "The coming-of-age documentary is as full of whimsy and joy as it is packed with clear-eyed resilience."
Posted Oct 17, 2024  Edit critic review
Hollywoodgate (2023) Dan Schindel In an impressive coup of access, filmmaker Ibrahim Nash’at managed to become embedded with Taliban forces, spending a year watching them transition from insurgency back to governance.
Posted Aug 21, 2024  Edit critic review
Anselm (2023) Eileen G'Sell Collaborative in both spirit and methodology, "Anselm" is less an homage to an individual than an intense poetic dialogue between two visionary German artists.
Posted Jan 23, 2024  Edit critic review
Stan Lee (2023) Dan Schindel The new documentary adds nothing to the historical record or collective conversation on Lee, but does work to bolster the man’s mythology.
Posted Jul 19, 2023  Edit critic review
Lynch/Oz (2022) Eileen G'Sell “Lynch/Oz” would seem a must-see for fans of the yellow brick road or the Great Northern Hotel of “Twin Peaks.” If only.
Posted Jul 03, 2023  Edit critic review
Little Richard: I Am Everything (2023) Eileen G'Sell Little Richard: I Am Everything honors the a-lot-ness that made him a 20th-century pioneer, while acknowledging the bumps along the trail he blazed.
Posted Jun 26, 2023  Edit critic review
Victim/Suspect (2023) Eileen G'Sell "Victim/Suspect" exposes the extent to which women, conditioned to apologize for any inconvenience, are vulnerable to pressures to take the blame, and even serve time, for their own violent rapes.
Posted Jun 26, 2023  Edit critic review
A Still Small Voice (2023) Lauren Wissot While on its surface "A Still Small Voice" follows selfless caregivers drawn to a higher cause, dig a tad deeper and that stubborn White savior complex begins to bubble up.
Posted Jun 26, 2023  Edit critic review
Youth (Spring) (2023) Sophie Monks Kaufman The impact of the film is dampened for the young workforce depicted, who have — once again — been subsumed by a machine so much larger than themselves.
Posted Jun 26, 2023  Edit critic review
Joyland (2022) Ishita Sengupta Through assured filmmaking and compelling performances, Saim Sadiq highlights the restrictions embedded in the coveted idea of belonging.
Posted Mar 27, 2023  Edit critic review
Last Flight Home (2022) Lauren Wissot "Last Flight Home" is a warts-and-all account of assisted death best viewed by the terminally ill and their loved ones.
Posted Mar 27, 2023  Edit critic review
A House Made of Splinters (2022) Eileen G'Sell "A House Made of Splinters" bears witness not only to children’s ongoing trauma, but to their enduring ability to seek out and sustain their own support networks.
Posted Mar 27, 2023  Edit critic review
Drylongso (1998) Eileen G'Sell Smith’s 1998 film exudes the DIY charm of a low-budget, first-time feature while keenly depicting the complexities of both race- and gender-related inequalities.
Posted Mar 27, 2023  Edit critic review
Against the Tide (2023) Poulomi Das The documentary’s examination of a community caught between tradition and progress is enlivened by Kaur’s commitment to spotlighting their invisibilized lives.
Posted Mar 08, 2023  Edit critic review
EO (2022) Dan Schindel EO’s universe seems a godless one; there’s no philosophical reason for the pain that human and nonhuman animals endure.
Posted Feb 27, 2023  Edit critic review
The Stroll (2023) Dan Schindel "The Stroll" is not just a chronicle of trans life and activism in the 1980s and ’90s, but also of urban “renewal” in the 21st century.
Posted Feb 27, 2023  Edit critic review
To the End (2022) Dan Schindel Despite "To the End"’s insistence on hope, its most indelible moments are those that are honest about the understandable trepidation so many of us feel about the future.
Posted Feb 17, 2023  Edit critic review
Squaring the Circle (The Story of Hipgnosis) (2022) Dan Schindel As it stands, "Squaring the Circle" is a reasonably informative, if rather dry, look at a subject with much more potential for exploration.
Posted Feb 17, 2023  Edit critic review
The Rules of the Game (1939) Eileen G'Sell Jean Renoir’s newly restored 1939 classic proves that lawless wealth — then as now — makes a marvelous farce of us all.
Posted Feb 17, 2023  Edit critic review
The Art of Making It (2021) Dan Schindel The documentary has impressive access to contemporary art world figures, but comes up with no good solutions for the many problems it discusses.
Posted Nov 14, 2022  Edit critic review
It Is Night in America (2022) Andrew Northrop "It is Night in America" gives liminal forms a limelight they are usually not afforded. The title embodies this.
Posted Nov 14, 2022  Edit critic review
INU-OH (2021) Juan Barquin Masaaki Yuasa’s latest anime feature embodies a revolutionary spirit in its tale of outcasts breaking ground in medieval Japan.
Posted Nov 14, 2022  Edit critic review
Sharp Stick (2022) Dan Schindel Featuring a delicate lead performance by Christine Froseth, this is a smart, sometimes purposefully discomfiting comedy about taking control of one’s sexuality.
Posted Nov 14, 2022  Edit critic review
The Territory (2022) Dan Schindel As the Uru-eu-wau-wau people face continued incursion by Brazilian farmers, they take an active role in this documentary about them.
Posted Nov 14, 2022  Edit critic review
Funny Pages (2022) Dan Schindel With its cast of oddballs and dilapidated urbanity, "Funny Pages" speaks not just about a past era of cartooning but an earlier of trend of films inspired by it.
Posted Nov 14, 2022  Edit critic review
Daisies (1966) Eileen G'Sell With its recent 4k restoration, "Daisies" endures as a New Wave masterpiece and hyper-feminine smorgasbord of sensory pleasure.
Posted Nov 14, 2022  Edit critic review
Three Thousand Years of Longing (2022) Mark Asch Alternating between charmingly and cringingly unfashionable, George Miller’s "Three Thousand Years of Longing" defies some orientalist tropes while falling prey to others.
Posted Nov 14, 2022  Edit critic review
Loving Highsmith (2022) Dan Schindel "Loving Highsmith" might not bring viewers any closer to understanding Patricia Highsmith, but perhaps it’s appropriate that she remains in many ways enigmatic.
Posted Nov 14, 2022  Edit critic review
All That Breathes (2022) Eileen G'Sell "All That Breathes" is profoundly empathetic toward all living kind, compelling a radical reassessment of the boundaries many imagine exist between nature and civilization, along with the boundaries we insist on building between ourselves.
Posted Nov 14, 2022  Edit critic review
We Met in Virtual Reality (2022) Dan Schindel "We Met in Virtual Reality" raises the bar for VR filmmaking, and has an optimistic vision for the potential of the metaverse.
Posted Nov 10, 2022  Edit critic review
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