In her latest film, Eden, a retelling of her brother Sven’s experiences as a popular DJ in Paris’ 80s and 90s EDM scene, director Mia Hansen-Løve gracefully avoids glamorization.

Although Creep is not the first mumblecore horror film, it might be the most indebted to the mumblecore aesthetic.

Charlie’s Country, about an aboriginal man who leaves his proto-reservation to spiritually reclaim his land from white men, could easily persuade one to better appreciate the world around them

New to Los Angeles following a cross-county move, Alex (Adam Scott) and Emily (Orange Is The New Black’s Taylor Schilling) are in search of friends not only for their young son, but for themselves.

Malcolm is a good kid. A bit of a geek, sure—he plays in a band, obsesses over ‘90s hip-hop culture, and listens to indie rock—but he stays out of trouble and gets good grades, which can’t be said of many youths from the Bottoms of Inglewood,

Gustave Flaubert’s famous novel of misery and adultery comes to the screen for at least the 10^th time in filmmaker Sophie Barthes’ poetically-filmed adaptation.

A compact but well-done tribute to a beloved American institution.

The Nightmare, about sleep paralysis, is Rodney Ascher’s follow up to his debut feature documentary Room 237.

When an international arms dealer steals a nuclear weapon and blows the cover of every operative in the field, the CIA has no choice but to turn to Susan Cooper (Melissa McCarthy), a mild-mannered analyst with no combat experience.