IFFR’s 44th edition was my fourth in attendance, and its program has never felt so scattered, a sensation that I found delightful.
Caroline Martel’s video installation Industry/Cinema places ephemeral films alongside more familiar ones.
Davies’s movies often run on multiple kinds of consciousness.
The more times one sees The Red Light Bandit, the funnier it gets.
No one is ever alone in these films.
Che, a New Man presents Che’s revolutions as an effort to love the rest of the world.