Netflix

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Every character in Lee Sung Jin’s TV series orbits around an unhappy nexus of high art, capital and social clout

BY Diana Seo Hyung Lee |

The new Netflix documentary is a distraction from the drive to regulate tech companies, including Netflix itself

BY John Menick |

A fawning new Netflix documentary about the iconic astrologer shies away from the more problematic aspects of his success 

BY Julyssa Lopez |

In the director’s sweeping new Vietnam War film, it is never clear ‘who is the colonizer and who is the colonized’ 

BY Ian Bourland |

The AI host of Netflix’s latest reality dating show is the love child of Big Tech and Saint Augustine

BY Rosanna McLaughlin |

A new Netflix documentary and an online exhibition at Fierman Gallery, New York, celebrate the legacy of a shuttered gay bookstore, and the world disappearing along with it 

BY Evan Moffitt |

The controversial star of Netflix’s latest documentary is hard to watch – but harder to stop watching

BY Rosanna McLaughlin |

Paywalls are going up everywhere, intellectual property is being jealously hoarded, and the long-predicted streaming wars are finally on

BY Tom Morton |

From parafactual entertainment to teen TV and the ‘flood’ of content

BY Timotheus Vermeulen |

The new film is neither as sombre and meditative as the work of contemporaries such as Robert Redford, nor as adaptive as the real-world activism of Jane Fonda

BY Ian Bourland |

Or, the links between Brexit and suspense television

BY Timotheus Vermeulen |

A timely documentary about the backslide into dictatorship reveals some uncomfortable home truths in the US

BY Jack McGrath |

The Hollywood Reporter’s Deputy Editorial Director explores art and the entertainment industry - and gives her Oscar predictions

Scheming dealers, demonic sculptures and filthy lucre: in Dan Gilroy’s Faustian tale, art takes murderous revenge

BY Ellen Mara De Wachter |

A visual homage to the Netflix documentary

BY Donna Huddleston |

Alfonso Cuarón’s Roma is full of other movies, yet it ignores the political and dialectical history of movies themselves

BY Masha Tupitsyn |

Narratively, the ‘choose your own adventure’ film is a dead-end, with repetition and wheel-spinning increasingly producing frustration

BY Vadim Rizov |

From Kader Attia's couscous sculptures and Isa Genzken's 'towers', to Rorschach tests and Tony Kushner's Angels in America

BY Lynne Tillman |

Jörg Heiser on memes, memory and Errol Morris's Wormwood

BY Jörg Heiser |

Netflix is actively and self-servingly restricting the platforms films can occupy, but it’s not the only one grumbling about Cannes’s fussy rules

BY Vadim Rizov |