Unlike some other European film festivals, the Seville European Film Festival has no qualms with including international co-productions in its regular lineup.
Thom Andersen approaches pre-existing footage as an increasingly viable option when it comes to affordable experimentation in the digital age.
This festival in Galicia, northwest Spain, demonstrates a canny knack for curating thematically coherent shorts programs, emphasizing quality over quantity.
Justin Kurzel’s Macbeth is most compelling when advancing its familiar plot through associative editing.
It’s with a combination of curiosity, excitement, and concern that one approaches a new project by such an obvious talent as Lois Patiño.
How wonderful it is to watch a film that pays attention to life’s finer textures.
The real test of a festival must, at some point, come down to the strength of its new titles.
The 45th edition of IFFR will be the first in nine years without current artistic director Rutger Wolfson at the helm.
Andrew Cividino’s short film Sleeping Giant shares The Dirties’s themes of bullying and peer pressure.
On the festival circuit at least, every calendar year starts with a bang.
As a kind of “festival of festivals,” the Viennale is one of the most esteemed fixtures in the world-cinema circuit.
Nailing the feel of a place through precise lighting isn’t a problem for South Korean auteur Hong Sang-soo.
For the 11 days over which the 66th Locarno Film Festival took place, the Swiss city was a colony of leopards.
Baltasar Kormákur’s 2 Guns capped the open-air opening ceremony with thunder roaring overhead.
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