What does it mean when your doctors keep insisting you redo the cognitive exam

“Grok says” - you might as well be quoting a Magic 8-Ball, what the fuck is wrong with you

“Is it madness, or is it some form of spirituality?” With THE TESTAMENT OF ANN LEE in theaters, I interviewed Mona Fastvold, for @ebertvoices.bsky.social, about faith and trauma, hunger and thirst, echoes of THE BRUTALIST, communal languages of movement, and more. www.rogerebert.com/interviews/t...

“Is it madness, or is it some form of spirituality?” With THE TESTAMENT OF ANN LEE in theaters, I interviewed Mona Fastvold, for @ebertvoices.bsky.social, about faith and trauma, hunger and thirst, echoes of THE BRUTALIST, communal languages of movement, and more. www.rogerebert.com/interviews/t...

The good people at Notebook asked me to write about the restored Fall of Otrar. Of course, I turned in an essay on the deep strangeness of past worlds: mubi.com/en/notebook/...

On the New York-ness of Wes Anderson's 'The Royal Tenenbaums,' released on this day in 2001:

OK, but what if I loved ELLA MCCAY, what then boxd.it/c2zEUH

watched this last night and its instantly in my top 5 of 2025. tremendous cinema. endlessly clippable if that's your thing. every frame immaculate

Bring me the head of JAY KELLY boxd.it/bXmsjN

Kristen Stewart’s THE CHRONOLOGY OF WATER is miraculous; an exhilarating feat of adaptation in how she finds cinematic form for Lidia Yuknavitch’s poetics of the body, translating her lacerating, jagged, nonlinear prose into a slipstream of sense memory: boxd.it/9Ilo7Z

I reviewed Bruno Forzani and Hélène Cattet’s delirious, dazzling new genre deconstruction REFLECTION IN A DEAD DIAMOND, now on Shudder, for RogerEbert: www.rogerebert.com/reviews/refl...

"This is a hypnotic, invigorating film, and a step up for the [directing] duo—much like the diamonds that shimmer so seductively through their frames, it has a cold, bright, gem-like brilliance,” writes @isaacfeldberg.bsky.social about REFLECTION IN A DEAD DIAMOND.

A movie so good that I needed @splicedpersonality.bsky.social and @isaacfeldberg.bsky.social to wrangle it. New #Eephus takes at @ohmpods.bsky.social open.spotify.com/episode/7AfG...

Broken Voices (premiering at BIFF) could have been punishing or moralistic; instead, it is quietly devastating, resisting exploitation by emphasising systems that allow atrocity to persist unseen. Listen to @isaacfeldberg.bsky.social + I on @ohmpods.bsky.social www.oneheatminute.com/one-hot-fest...

Amanda Seyfried in THE TESTAMENT OF ANN LEE — an immense performance. Sublimating suffering into faith, agony into ecstasy, both in every movement and glance, she embodies a vision of worship as all-consuming fire — cry of rage, song of survival, devotion and defiance made one.

SENTIMENTAL VALUE is a trove of lovely performances, but what Stellan Skarsgård and Elle Fanning convey in their portrayal of an actor-director relationship feels rich and honest in surprisingly vulnerable ways. I spoke to them both for @ebertvoices.bsky.social: www.rogerebert.com/interviews/a...

Not since their “Cormac McCarthy’s secret muse” story has the writing in a Vanity Fair piece made my eyes bleed like this www.vanityfair.com/news/story/o...

I love mess but man this whole thing underlines how much it sucks that all the worst journalists somehow end up with flashy high-paying media jobs

"You can do anything on the set, and you’re not a tool; really, you’re a source of inspiration.” @isaacfeldberg.bsky.social spoke w/ Elle Fanning & Stellan Skarsgård abt the unusual depth of their on-screen dynamic in SENTIMENTAL VALUE, the filmmakers who’ve helped them feel seen, & more:

“in making it, you’re lost along the way”. can't agree more, that's how we give meaning to our existence.

Joachim Trier had a deeply personal connection to SENTIMENTAL VALUE, he says; his maternal grandfather, Erik Løchen—one of Norway’s better-known filmmakers, and a jazz musician—suffered under Nazi occupation and turned to art in part to process his ordeal www.rogerebert.com/interviews/s...

"The film asks this question of the ambivalence of history and memory. On one level, we need to forget, to forgive a difficult parent. On the other hand, we owe it to the past to remember certain things, not to repeat those faults." I spoke to Joachim Trier about his gorgeous SENTIMENTAL VALUE.

Our FRANKENSTEIN one-shot is sold out in our online shop, but still available at the fine establishments listed below

“We need to learn from history. And I think the film asks this question of the ambivalence of history and memory.” @isaacfeldberg.bsky.social spoke w/ SENTIMENTAL VALUE dir. Joachim Trier abt the challenges & joys of working w/ time, inescapable influence of Ingmar Bergman.

"The film asks this question of the ambivalence of history and memory. On one level, we need to forget, to forgive a difficult parent. On the other hand, we owe it to the past to remember certain things, not to repeat those faults." I spoke to Joachim Trier about his gorgeous SENTIMENTAL VALUE.

I enjoyed the lovely little ARCO, a French animated feature from Ugo Bienvenu that at its best evokes Miyazaki and Moebius — no small feat for a feature debut. For @ebertvoices.bsky.social:

Watched it again today. It’s lovely. Review running tomorrow.

"Looking at the mindset of the military-industrial complex, what’s most interesting are the vulnerabilities." With A HOUSE OF DYNAMITE hitting Netflix today, a thrill to speak briefly with Kathryn Bigelow about system failure, nuclear film, and memories of STRANGE DAYS, for @letterboxd.social:

"We often think of resilience as a continuation of something, whereas I hope resilience can also be a reimagination of something." Director Max Walker-Silverman spoke with @isaacfeldberg.bsky.social abt his Josh O’Connor-starring cowboy drama REBUILDING & abt the beauty that emerges after loss:

REBUILDING, out this week, is a wistful and elegiac picture that still left me hopeful about our capacity to rise out of ashes and make something more beautiful of our world — in other words, it's a distant dream, but a welcome one. Loved speaking to Max Walker-Silverman about it earlier this year.

“When do we have silence, and when do we let loose something that we’ve really honed in on?” @isaacfeldberg.bsky.social spoke w/ Lynne Ramsay & Jennifer Lawrence abt DIE MY LOVE, running on instinct, picking the film’s musical selections, & more.

My buddy @isaacfeldberg.bsky.social talked to Jennifer Lawrence and Lynne Ramsay. This is awesome.

"Sound works so much on your subconscious, in a way that’s often deeper than an image." I interviewed Lynne Ramsay and Jennifer Lawrence about DIE MY LOVE, their ferocious, psychosexual portrait of a woman in trouble, for @ebertvoices.bsky.social.

"Sound works so much on your subconscious, in a way that’s often deeper than an image." I interviewed Lynne Ramsay and Jennifer Lawrence about DIE MY LOVE, their ferocious, psychosexual portrait of a woman in trouble, for @ebertvoices.bsky.social.

Cullen Atchley and Emilio Diaz of @cannesikickit.bsky.social joined us to wrap up the Chicago Int'l Film Festival! ft. recs from @isaacfeldberg.bsky.social, @anotherkylel.bsky.social, Brennan McMahon, @daniellamazzio.bsky.social, @cineniche.bsky.social, Zachary Lee + Steve Prokopy bit.ly/47IxD1h

Twenty years ago Aardman created a monster. A carrot-gobbling monster that baffled its American investors…

On the latest ONE HOT TAKE at @ohmpods.bsky.social, @isaacfeldberg.bsky.social and I attempt to process Lynne Ramsay’s harrowing #DieMyLove open.spotify.com/episode/4HGi...

SPRINGSTEEN: DELIVER ME FROM NOWHERE is the worst and most reductive kind of biopic — a conventional film about radical art.

For the record, on this day and every day I’m a proud Block Club reader. blockclubchicago.org/2025/10/24/f...

"Looking at the mindset of the military-industrial complex, what’s most interesting are the vulnerabilities." With A HOUSE OF DYNAMITE hitting Netflix today, a thrill to speak briefly with Kathryn Bigelow about system failure, nuclear film, and memories of STRANGE DAYS, for @letterboxd.social:

"I don’t see young people getting angry over franchise films. It’s someone selling you something in a two-hour format that’s really about selling you something else and pretending." Kelly Reichardt on The Mastermind and not caring about audience expectations:

Afterward, be sure to put on my Hand Me the Mike conversation on TAKE SHELTER with @isaacfeldberg.bsky.social. PLUS: Prep for BUGONIA with SAVE THE GREEN PLANET! Seriously, don't miss this night of da pictures! facets.org/programs/tak...

🚨🚨🚨 Jonathan Glazer's BIRTH announced for a new 4K UHD Criterion restoration, this is not a drill 🚨🚨🚨

If you’re a @filmmakermagazine.com.web.brid.gy subscriber, you can read my interview with Shih-Ching Tsou on the “neo-melodramatic tapestry” of LEFT-HANDED GIRL, her heartwarming Cannes premiere; editing with Sean Baker; casting meerkats over monkeys, and more: filmmakermagazine.com/131855-inter...

Fun fact: Channing Tatum was originally offered the lead in BLUE VALENTINE, but he was scared of the role and turned it down — Derek Cianfrance says this was for the best, but his initial impression of Tatum is so prescient that it makes perfect sense they came back together for ROOFMAN

good movie! www.avclub.com/heightened-s...

Honestly really jazzed about my first set of reactions in the AV Club comment section

FWIW the interview Amy Poehler had with Aubrey Plaza recently was one of the richest, most sensitively handled conversations of its kind I’ve heard in this medium