At the Tiradentes film festival, a major artistic shakeup takes place that reflects Brazil’s contemporary zeitgeist.
We Are the Flesh evokes human desire, unfettered by social mores, as the supreme expression of all the world’s evil.
Bi Gan’s film is a soulful depiction of China’s increasingly rapid pace of cultural and economic transformation.
Clément Cogitore understands that there’s nothing more frightening or darker than the human mind.
By setting up two temporalities, Karolina Bielawska sets up a dramatic tension that extends beyond the sex change, yet is intricately connected to it.
It’s a carefully measured and satisfying, albeit occasionally tone-deaf, suite of fleeting, dispersed impressions.
Eduardo Williams’s I Forgot at first appears to be a fairly observational documentary about youth.
Nathan Silver captures the young-adult experience, particularly the agony of first sexual pangs, in films that deftly mix beguilement and repulsion.
Corneliu Porumboiu’s The Second Game is a fine example of an impulse toward meta-narrative that has recently reinvigorated the nonfiction form.
The film becomes akin to variations on a theme, executed with visual finesse, and enhanced by its many rich textures.
Whereas female sexuality was borderline vampiric in Antichrist, this time we’re in more ambiguous, contextually richer terrain.
One doesn’t have to be a visual arts fan to appreciate the easy charm of Marcin Latałło’s Behind the Poster.
Camouflage is a precisely modulated satire whose abrasive edges continually test our discomfort.
The film isn’t so much about the moral atrophy of people who refuse to come to terms with their past as it is about cosmic karma passed from fathers to sons like an ancient curse.