You can tell a lot about a film festival from its opening-night selection.
Like an eager frequent flyer, Western paternalism changes destinations but not its baggage.
In the kennel of gay films, Shelter is a puppy dog: It’s cute but it lacks bite.
In person, Robert Towne looks every inch the survivor of the Seventies New Hollywood that he is.
Leigh’s famous working process received special attention throughout the Q&A, particularly from the aspiring filmmakers in the crowd.
Nick Broomfield reduces the characters to lambs sacrificed in tensely directed but subject-cheapening action sequences.
He’s endlessly alert and inquisitive behind the camera, a unique combination of detective, storyteller and philosopher.
Tricked out with so many scattershot digressions and footnotes, the film comes off like the Egyptian version of I Heart Huckabees.
An academic but intriguing critique from a filmmaker who should be remembered for more than just being Javier Bardem’s uncle.
Death of a Cyclist too often settles for academic subversion.
Lamorisse’s film is a lovely and troubling evocation of childhood fantasies.
Albert Lamorisse’s film sees bliss and sorrow as inseparably bound and equally enchanted.
The film has always been unfairly overshadowed by its more popular predecessor, El Cid.
The HBO series may have orgies on its side, but Mann’s underappreciated epic goes deeper and darker into the fall of Rome.
San Francisco has a long and diverse film history, yet most roads in Fog City Mavericks seem to lead to either the Skywalker Ranch or Pixar Studios.
It’s difficult to see the real brilliance of the Bay Area film scene through this self-congratulatory Fog.
Teshigahara lets Gaudí’s works speak for themselves, and what strange music they make.
Had Lewis Carroll switched from jotting down his visions to carving them in stone, his works might have looked a lot like Gaudí’s.
The first project of the here! gay television network’s new movie initiative, Shelter regrettably plays closer to Lifetime fodder.
The historical and the personal converge in Godfrey Cheshire’s documentary.