The film exudes the confidence of an artist willing to risk driving its audience up a wall in order to realize a defiantly unique personal vision.
There’s something about the night that is beautiful, mysterious, and humbling all at once.
Source Code packs, in dazzlingly virtuosic fashion, two mysteries in one.
Here is a breezy, old-school horror romp which gets a surprising amount of mileage from the usual genre standbys.
Mysteries of Lisbon plays as an endlessly compelling juggling act.
Old Cats is a clear-eyed, empathetic understanding of the agonies of aging.
Formally, Kelly Reichardt’s fourth feature is some kind of masterpiece.
Within Ruhr’s seven stationary shots, Benning tries to capture a whole world.
Ferguson’s approach mostly focuses on facts, expert opinions, concise explanations of complex concepts, and tough probing of authority figures.
If there is a thread running through some of this year’s festival, it is the acceptance of the enigmatic in human beings.
The payoff is too light on revelation or insight to justify the skillful, fairly involving, tension-filled buildup.
Film Socialisme is often simply beautiful to look at, full of inspired, elusive, and suggestive imagery.
The film offers some illuminating context in which to fully appreciate John Lennon’s solo albums, especially Double Fantasy.
Sometimes the commentary illuminates an image, providing historical context or enlivening it with a humorous aside.
An intellectual achievement rather than a visceral or emotional one.
Naturally, because the film is so single-mindedly focused on Ceaușescu from the outside, psychological insight is limited at best.
Departures is still just about potent enough to leave us with lingering questions.
Gomorrah probably is an important film, for the stories it tells, the conclusions it reaches, and the realities it evokes.
Are there any human truths to be gained from watching this sordid roundelay play out to its bitter end?
Pierrot le Fou, of course, abounds in a wide variety of artistic references.