HeyJaredJessica Kiang
- Indexed articles, last 90 days
- 17
- Latest publication
- Sep 30, 2026
- Outlet visibility, for Variety
- Top 10K sites
- Earliest in this view
- Jul 7, 2026
Latest articles
‘What Remains’ Review: A Pensive but Stirring Drama Finds Poetry in the Landscapes of Rural Turkey (opens the original)
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Turkish director Yeşim Ustaoğlu returns with a beautifully shot, superbly performed exploration of a modern couple embarking on separate journeys of self-discovery. If you love something, let it go, the adage advises, and maybe it will come back to you. Maybe, however, it will go and go and go and never come back, and that, so Yeşim Ustaoğlu’s increasingly lyrical and persuasive “What Remains” would have it, might be its own sort of reclamation. The slowly built, gently revolutionary assertion o
‘Les Misérables’ Review: A Starry, Lavishly Empty, French-Language Version of Victor Hugo’s Epic (opens the original)
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Here we are again on the streets of poverty-blighted 19th-century France, this time watching Vincent Lindon, Tahar Rahim, Camille Cottin and Noémie Merlant not-sing their way through an anodyne, politically incurious take on the classic novel. Nobody sings in the latest adaptation of Victor Hugo’s 1462-page cinder-block classic, but the absence of rousing musical numbers does not mean that Fred Cavayé’s “Les Misérables” is going for gritty realism. The 179-minute film, enjoying a reported $37m b
‘La Gradiva’ Review: A Brutally Tender Study of Teenage Promise and Fragility That Marks the Arrival of a Major New Filmmaker (opens the original)
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Marine Atlan's lithe, perceptive, piercingly compassionate debut takes a chattering group of French high-schoolers on a devastatingly poignant trip to Pompeii and makes the coming-of-age genre feel reborn. At 2 hours 25 minutes, Marine Atlan‘s stunning debut, “La Gradiva,” is long if you run a stopwatch. But by any other measure it is as quick as a breath — a deep, ragged but restorative breath — of seasalty, basalty air. It’s the first sniff of adulthood and the last gasp of childhood for a gag
‘Oasis’ Review: A Sleek, Strange Parable about Bullying and Bonding at the Most Difficult Age (opens the original)
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In response to a humiliating incident at school, three teenagers develop increasingly bizarre, mutually masochistic bonding rituals in Jannis Lenz's impressively taut and eerie debut. The difficult teenage years are sometimes characterized as a wasteland, but more resemble a forest for the interdependent trio at the sinking heart of Jannis Lenz‘s “Oasis,” the German-born, Austrian-trained filmmaker’s creepy, controlled debut feature. Retreating to the woods surrounding their German hometown, thr
‘Let Us Through, Dear Ancestors’ Review: Lav Diaz Delivers an Immaculate, Slow-Burn Period Drama of Rare and Restless Insight (opens the original)
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Filmmaker Isabel Sandoval stars in the Filipino auteur's exploration of the origins of regional feudalism, which gradually builds to an immersive vision of the mayhem and mundanity of colonial cruelty. Set almost a century after Magellan first landed on the Philippine Archipelago, and coming just a year after “Magellan,” director Lav Diaz‘s last film, landed in Cannes, “Let Us Through, Dear Ancestors” is a description of bruised history rendered in the sharp, precise, scarring lines of a newly i
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