The documentary is a public relations exercise masquerading as a substantial fashion profile.
The film immerses us in the depths of the human experience without varnish or sentimentalism.
The film tenaciously and hauntingly casts a net woven of implications over what’s come before.
In Burger’s tender and surprisingly funny third feature, language is forever foreign.
What makes IFFR so endearing is an atmosphere that’s joyful and devoid of self-importance.
The film, consistent with The Wild Pear Tree, is essentially a story about being stuck.
The film’s repetitiveness is conceptual, embodying Chilean cinema’s most prominent motif.
A multi-faceted portrait of a particularly American trans experience emerges here and there.
Marseille’s contradictions were particularly evident at this year’s FIDMarseille.
The Stroll is overtly broad, detached, and full of ready-made empowerment rhetoric.
Blue Jean more than ably exposes sexism and homophobia in British culture.
Much of the film is spent in this space of vulnerability we could call the feminine position.
Joyland’s dignity is in its commitment to realism.
Claire Simon’s tour de force is a realistic celebration fused with pre-emptive mourning.
Philippe Garrel’s The Plough is a minor addition to the iconic filmmaker’s oeuvre.
Lack of clarity, it turns out, is what makes Disco Boy so enjoyable, and imbues it with gravitas.
Femme taps into the radical possibilities of the sartorial as narrative device.
One might say that the IFFR puts the “jaws of life” to the test on cinema.
The film is best enjoyed by wallowing in the lushness of its fabrics, sartorial and symbolic alike.
Mosese’s fiction feature debut receives a vibrant transfer and a small but solid slate of extras.