Adjmi keeps his audience on its toes by constantly demonstrating how hysterical laughter can signal trauma.
Will Egypt’s democracy, regardless of which constitutional model it’s styled after, be carried out to the end?
Throughout his documentary, Kirby Dick shows a great commitment to the stories of individual women.
The bigger questions that hover over the film are what else could have been done for Anna, and the limitations of art’s intervention in life.
The devil’s in the details, the saying goes, and in the case of Mondo Lux this is certainly the case.
The tension between life and artifice, between being and playing, is blurred in Cindy Sherman’s work.
Like Glauber Rocha, Werner Schroeter harnesses the aesthetics of poverty to thrillingly radical ends.
One of the most interesting offerings in this year’s Migrating Forms festival didn’t always feel like a film at all.
Sylvain George is the modern era’s poet of revolt.
Abendland is more than a meditation on how our lives, from birth to death, have become mechanical, and so aseptic.
You could call it a tragicomedy of mistaken identities.
Bani Abidi’s Death at a 30-degree angle created a rich, at times humorous deconstruction of political monuments.
Bay of All Saints eschews stereotypical portrayals of Brazilian slums as the festering ground for prostitution and drug trafficking.
Oslo, August 31st succeeds as a finely observed portrait, as much as an evocation of social ills.
The images, while beautiful, are sentimental, as if Kleber Mendonça Filho is trying to negotiate too much.
An Iliad pleads for both the victors and the vanquished to be remembered and honored.
When it comes to The Lady from Dubuque, “perhaps” is the operative word.
Katori Hall ’s work is remarkable for her keen ear for wisecracks and irreverent, self-deprecating humor.
Atlan’s black-and-white Mortem has been billed as a “metaphysical thriller” inspired by David Lynch and Ingmar Bergman.
One could argue that the drastic transformation is the point.