The festival’s 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.
Terence Davies’s films often run on multiple kinds of consciousness.
The 40-odd festival titles I caught at Rotterdam this year offered consistent amazement.
Hell on Earth? Not quite.
Walter Hugo Khouri is an undervalued master.
The Pornographer is exemplary of the Boca do Lixo’s comic style, much of which revolves around fantasy.
The Red Light Bandit is an electric, legendary movie, one Brazilian cinephiles know practically by heart.
The films we consider historically vital are usually films we can easily see.
The story of Boca do Lixo filmmaking began a few years before any of its movies.
In the 1960s, a branch of Brazilian cinema emerged so daring, thrilling, and varied that in hindsight people disagreed even over what to call it.
No one is ever alone in these films.
São Paulo International Film Festival 2011: Twenty Years Later, The Songs, & Sleepless Night Stories
Eduardo Coutinho’s Twenty Years Later is a film about a film. Sort of.
The past is being borne ceaselessly into the future in Luchino Visconti’s The Leopard.
How many readers have heard of Atlântida Cinematográfica?
Bruno Dumont’s Outside Satan isn’t alive to nature’s movement.
Che, a New Man presents Che’s revolutions as an effort to love the rest of the world.
Hanezu might seem like a very different film from Jeanne, but the two films actually seem to come from similar impulses.
Aleksandr Mindadze’s Innocent Saturday ultimately adds up to a lot of nasty hysteria.
One country’s classics are another’s unknowns.