It was a shame that no special anniversary prize was created and bestowed on The Wandering Soap Opera.
In Milla director Valérie Massadian’s hands, the minor and the major are one and the same.
The film is a dizzying experimental essay on what the everyday life of an artist looks like in the 21st century.
It’s hard not to read Alain Cavalier’s portraits as conflicting analogies of where France has been and where it’s heading.
The stock character types that Kore-eda employs across the board are pretty much open books from the start.
This portrait of a young man’s meandering journey zeroes in on the pressures of contemporary Brazil in passing.
Thomas White’s film is a bizarre, undisciplined romp through snowbound Belgian vistas and ‘60s signifiers alike.
There’s little here to suggest that the film is anything more than a hastily cobbled-together studio star vehicle.
At most festivals, such curious objects as The Ornithologist or The Human Surge would likely remain the exception rather than the rule, but then Locarno isn’t most festivals.
Perhaps the ultimate measure of a film festival’s success is how its program looks not just before and during the event, but also after its culmination.
A real yet illusory world is evoked so seamlessly that it also feels just one step away from pure cinematic fiction.
It intends to give back to the inmates the opportunity for individual expression that society has robbed them of.
Its take on the Warcraft universe is little more than a bargain-basement rehash of Peter Jackson’s Middle-earth.
Athina Rachel Tsangari’s obvious skill can’t hide the fact that how she packages her one-note concept is perhaps more interesting than the concept itself.
Terence Davies’s talent for creating sensuous images conveniently masks how little of this feeling actually emerges from the plot these images illustrate.
Christian Petzold’s meditation on individual and cinematic ouroboros lands on Blu-ray with a masterful transfer from the Criterion Collection.
The actress discusses the complexities of her performance, working with Petzold, and her recent role on Homeland.
Anucha Boonyawatana’s film is an initially intriguing attempt to splice together a gay romance and a horror film that ultimately shows little flair for either genre.
Ross Lipman’s gloriously egalitarian approach to culture means that his argumentation never becomes inaccessible.
It rams home the main character’s downward spiral though an incessant parade of grandstanding stylistic flourishes.