The film is a tale of how the desolation of a nation inhabits and engraves a woman’s body.
The film ultimately trades its main character’s account of her own suffering for her therapist’s pathologizing assessment.
Though uneven, the film is clever about avoiding age-old conundrums regarding the disavowal of the language of horror.
John and the Hole is most impressive when it proceeds as a series of confounding and uncanny situations.
At its most accomplished, the film unfolds with a voluptuous slowness and a sense that narrative endpoints are irrelevant.
Playground is practically an exercise in the use of off-camera space, and a masterful and refreshingly consistent one at that.
Against the Current’s style imposes a generic visual language onto a subject who’s anything but generic.
François Ozon’s paean to nostalgia wraps tragedy and obsession in a whimsical bow.
The film’s tendency to over-explain, over-intellectualize, and over-script events leaves little room for spontaneity and doubt.
The film isn’t interested in exploring the fissures in Pink’s life in the rare moments when they begin to surface.
Both films center around women who are crippled by domesticity.
While Ulrike Ottinger accesses the most consequential of decades through nostalgia, she does so with humility.
The documentary exists within the very restricted pantheon of films that successfully reap the cinematic potential of pedagogy.
If the world outside the Supermercado Veran is rife with poverty and crime, we wouldn’t know it from inside this little cocoon.
Both films, part of the festival’s Tiger Competition, bask in philosophical and erotic consequences of illness.
Horvát’s film delights in wallowing in ambiguity, contradiction, and doubt.
The film is at its most moving when it lingers on the faces of children who are impotent to return to the world they used to call home.
Taïa’s novel intertwines various tales of the wretched of the Earth leaving their country in order to die in another.
Alan Ball quickly loses sight of the sense of power that fuels the film’s early moments when his characters basically just gaze at each other.
The film fiercely reminds us that without investigative reporting there’s no democracy.