A striking number of the titles that appeared in the festival’s competition slate this year operate in a playful, breezy register.
The festival feels very much on the rise, both as an international industry shindig and a well-funded driver for cultural tourism.
Docaviv continues to thrive in increasingly challenging circumstances.
Chiwetel Ejiofor announces himself as a sensitive, shrewdly restrained filmmaker with his quietly assured directorial debut.
Alongside fiction films depicting emerging voices, nine of the Panorma sidebar’s 45 features are documentaries about creative talents.
Ben Is Back is more unpredictable and slyly entertaining than its earnest-sounding premise might suggest.
The film’s florid screenplay affords Yorgos Lanthimos ample opportunity to assert his idiosyncratic worldview.
The film’s satisfyingly tactile action set pieces serve to hammer home just how perilous the space race really was.
With Ray & Liz, Richard Billingham delivers a richly evocative portrait of working-class life in the British Midlands.
Growing pains and burgeoning sexual identity take center stage in several titles duking it out for the Pardo d’Oro at this year’s festival.
While Lauren Greenfield’s perspective is plainly critical, she’s also clearly aware of her subject’s voyeuristic appeal.
The broad strokes of the performances make the film’s occasional lurches into sentimentality seem especially jarring.
Lorna Tucker’s documentary sustains a tone that oscillates between earnest admiration and wry exasperation.