The film, although it positions itself in dialogue with contemporary debates about the border, eschews a clearly delineated historical narrative.
It’s sense of complexity is giving us masses of people moved by Simon Bolívar’s words, and gorgeous sweeping vistas of the landscape backed by a stirring orchestra.
The Liberator is upfront about lensing the world psychologically through Simón Bolívar’s eyes.
Los Ángeles follows the flow of migration back to its other endpoint across the border in a Zapotec village in Oaxaca.
The second season of Joe Weisberg’s Reagan-era spy drama resets the pieces of its chess game to a precarious status quo.
In the end, the film’s misstep isn’t some failure at being sufficiently morally gray. In being the thriller that it is, it smudges the palette beyond recognition.
The foreclosure of possibilities provided by the use of the long take assists in the indictment of chauvinism and patriarchal brutality that underpin many moments in the film.
The Selfish Giant provides a window into the struggles and tragedies, both great and small, which lie just outside our view.
We Are Mari Pepa captures the energy of aimless adolescence with a loose and ambling story structure.
In Bloom is constructed in part from writer-director Nana Ekvtimishvili’s memories of childhood life in 1990s post-Soviet Georgia.
Lake Bell holds the film together through sheer charisma.
It hasn’t been retooled exactly, but there’s a finessing of characters and a shifting of priorities, with most of the changes being for the better.
Los Angeles Film Festival 2013: The Expedition to the End of the World, Europa Report, & In a World…
Much of The Expedition to the End of the World derives its power from the way it seems to transcend time.
Prolific Hong Kong action auteur Johnnie To performs a border crossing with Drug War.
Crystal Fairy is no Fear and Loathing in the Atacama.
The real world, or at least the attempt to transmit some finite aspect of it, has been the aim of many a film.
Everybody’s Got Somebody…Not Me film gingerly navigates its display of sexuality.
Chaw isn’t reluctant to bring up problematic aspects of the film, and Steve De Jarnatt responds frankly, with nostalgia tinged by regret.
On the Edge’s Badia isn’t a personable or empathetic character, but as the driving force of the story, her behavior is a fascinating display.
Sister is another meditation on the viewpoint of children in an alienating adult world.