The Turin Horse is a cyclical fable of daily drudgery that strips human life to its barest elements and banalities.
The Loneliest Planet is one of those films that feels perpetually as if it’s building up to some dreadful act of violence.
It traffics in a sort of vague, half-defined spiritual questing. It also deals in an opposites-attract romantic plotline between a pair of chemistry-less leads.
In Kaspar Heidelbach’s project, aesthetics mustn’t get in the way of the easy outrage the film aims to trigger.
Tanner Hall isn’t so much kaleidoscopic, episodic drama as underdeveloped, perfunctory multi-character mash-up.
Benny Chan’s Shaolin both benefits from and is ultimately defeated by its own epic ambitions.
Ludivine Sagnier and Kristin Scott Thomas are the reasons to watch Alain Corneau’s overly convoluted Love Crime.
Has the so-called Romanian New Wave slowed to a trickle?
If Our Idiot Brother clearly courts Gump-ian territory, its pattern finally bears a stronger resemblance to Pier Paolo Pasolini’s Teorema.
As you’re swept up in all the decades-spanning poignancy, it’s easy to overlook the film’s numerous flaws.