In Llewyn I see a reflection of the human soul: restless, fumbling towards eternal but frequently getting sidetracked.

The stories about Catholics that Hollywood tells—and awards—has as much to do with what is happening with the church off-screen as what is shown on-screen.

RaMell Ross’ film ‘Nickel Boys’ is nominated for Best picture. His 2018 documentary is an attempt to express Black life and history as dynamic and vital.

“Pan’s Labyrinth” embodies the core tension of Catholic life: the push and pull between the eternal and the worldly.

The new film ‘Green and Gold’ credits prolific Christian writer and farmer Wendell Berry as its biggest influence. It’s easy to see why.

Is it a cop-out to honor David Lynch by reflecting on his least Lynchian film?

‘Emilia Pérez’ is wildly divisive, facing criticism for its portrayal of Mexico and its handling of transgender issues. Our critic enjoyed it.

“Juror #2” confronts us with an uncomfortable reality: following your conscience often comes at great personal cost.

In 1930, Hollywood teamed up with the Catholic Church. The result was the Production Code, a document that dictated what movies could and could not depict.

Robert Eggers’s ‘Nosferatu’ walks the line between desire and dread, the thrill and terror of surrender.