Cait Lore

A still from 'One Child Nation'.

Highlights from True/False 2019

For the last 16 years, the True/False Film Festival has challenged the way audiences think of documentary filmmaking, but it’s also reshaped expectations for the film-festival experience as a whole. Immersive art installations, a live game show, and the “March... Read more

A still from 'To Dust'.

Review: 'To Dust'

When his wife died, Shmuel (Géza Röhrig), a Hasidic jew, first sought comfort in his faith, dutifully committed to its mourning rituals. He tore into the fabric of his jacket, a practice known as keriah. Following the Taharah ritual, he had her remains... Read more

The Best Films of 2018

The Best Films of 2018: The Roundtable

After publishing their individual “Best Films of 2018” lists in late December, the Lens critics began a spirited discussion via email on the state of cinema in 2018, and... Read more

Banner graphic for the Best Films of 2018.

The Best Films of 2018: The Lists

Although the calendar year is an admittedly arbitrary framework for the discussion of cinema, when the end of December approaches, even the most high-minded writer is usually compelled to look back on the past 12 months and catalog their favorite films. (List-... Read more

A still from 'Border'.

Review: 'Border'

Even in a place as drab as the Swedish customs office, Tina (award-winning stage and screen veteran Eva Melander) stands out. There’s something about this short, stocky woman that, well, just doesn’t look right. Ancient scars trace her outlandishly round, rather... Read more

A still from 'Boy Erased'.

Review: 'Boy Erased'

Who, exactly, is religious-based gay conversion therapy meant to help? This is but one question at the center of director Joel Edgerton’s Boy Erased. Another, for the central character Jared Eamon (Lucas Hedges) anyway, involves his sexuality: Is he... Read more

A still from 'The Sentence'.

SLIFF Spotlight: 'The Sentence'

Throughout the 27th Annual Whitaker St. Louis International Film Festival (SLIFF), the writers at the Lens will be spotlighting their favorite narrative and documentary films on this year's festival schedule. Each day, our critics will discuss can't-miss... Read more

A still from 'Bisbee '17'.

SLIFF Spotlight: 'Bisbee '17'

Throughout the 27th Annual Whitaker St. Louis International Film Festival (SLIFF), the writers at the Lens will be spotlighting their favorite narrative and documentary films on this year's festival schedule. Each day, our critics will discuss can't-miss... Read more

A still from 'I Am Not a Witch'.

SLIFF Spotlight: 'I Am Not a Witch'

Throughout the 27th Annual Whitaker St. Louis International Film Festival (SLIFF), the writers at the Lens will be spotlighting their favorite narrative and documentary films on this year's festival schedule. Each day, our critics will discuss can't-miss... Read more

A still from 'Can You Ever Forgive Me?'

Review: 'Can You Ever Forgive Me?'

In today’s New York, West Village is one of the city’s most expensive neighborhoods. It wasn’t always that way, as Marielle Heller’s new film, Can You Ever Forgive Me?, will remind audiences. This is the neighborhood where the Stonewall riots took place,... Read more

A still from 'We the Animals'.

Review: 'We the Animals'

In queer film studies, one must accept that the definition of the central concept of interest — “queerness” — is perpetually in flux. It simply gestures toward meaning and is not confined to the same empirical categories that are associated with “gay” and “lesbian... Read more