If Hollywood is the place where people go to fashion their identity anew, then Footprints takes that idea as its starting point.
Janus Metz’s project is certain to prove far more revelatory to his fellow countrymen than it will when it makes its Stateside debut.
The film spends its first half humiliating its actresses only to show in the end that the thing’s all heart.
With Eclipse's latest, the amount of region 1-available Naruse increases sixfold, but it's still just the tip of the iceberg.
The film misrepresents the difficulties of women with no semi-marketable talents at freeing themselves from their own domestic grind.
Li Hongqi strips down Roy Andersson’s deadpan minimalism to the point where there’s barely anything left.
Curling is a psychological study that refuses to go deeper than what the naked eye can detect.
The film acts as something like a quad erat demonstrandum of the way the Turkish ruling classes perpetuate themselves.
Mostly the film’s high drama, like its dexterous handling of narrative, seems like so much empty sensation.
Gromozeka is a punishingly dreary portrait of eviscerated manhood.
Athina Rachel Tsangari’s Attenberg is a boldly conceived assemblage of diverse and seemingly random fictional materials.
Mohamed Diab’s film brings together its central trio for an evolving symposium on how to combat sexist violence.
Semih Kaplanoglu’s Bal walks a fine line between affecting, character-based drama and long-take academicism.
Winter in Wartime is nothing more or less than a skillfully directed, good-looking coming-of-age tale.
Whether in literature or film, the boarding-school setting tends to lend itself to one of a handful of possible narratives.
Monogamy is a shallow and unconvincing look at male psychosexual pathology.
I Am is an essayistic hodgepodge of repetitious declarations of mankind’s interconnectedness.
Take Me Home Tonight is too invested in the diminishing laughs to be found in juvenile behavior.
The film’s principal project is to trade in questionable racial characterization as a catalyst for its white protagonist’s personal fulfillment.
A box office hit in its native China, Lu Chuan’s divisive epic about the Nanking massacre courted enormous controversy almost from the start.