Kelly Reichardt has never felt like a director who was forcing her career to go in a certain direction, or build to any kind of definitive statement. Her first six features, dating back to 1994’s River of Grass, share a good number of characteristics, but one of the most important is that they’re resolutely small […]

It’s inherently admirable when a filmmaker reaches beyond their established strengths to try something new, as Kelly Reichardt has done with Certain Women. The downside is that a director abandoning their strengths runs the risk that their new thing will be, well, not as strong, and this has kind of also happened to Reichardt. Her […]

I have not seen, in quite some time, a movie that has messed with my head as thoroughly as Meek’s Cutoff has these past couple of days: torn between my lustful admiration for its visual aesthetic, my removed admiration for its narrative anti-flow, and my utter bafflement as to whether its climax-deflating final scene is […]

Twelve years after making her directorial debut, Kelly Reichardt exploded into the indie film consciousness in 2006 with the absurdly effective Old Joy, one of the least-seen, best-reviewed films of the last few years. With a virtually invisible but strong edge of political commentary and a story so delicate and whispy you might as well […]