As always, alongside the marquee selections, the committee has programmed a diverse selection of under-the-radar films.
When it comes to the music of the ’80s, we feel no compelling reason to feel bad about feeling good.
San Francisco’s indie-rock veterans’ upcoming album, Breakup Song, is being billed as a showcase of “Cuban-flavored party-noise-energy music.”
Go figure Crystal Castles would regard syncopation as something in need of lancing.
An even softer version of the intimate “Daniel,” “Laura” could be the song that wins Bat for Lashes the audience she deserves.
Grizzly Bear has finally emerged to bring us the first cut off Veckatimest’s long-awaited and still nameless follow-up.
“She Said OK” is a hip-hop Lars and the Real Girl.
Resplendent chaos is usually the jurisdiction of Doldrums, a.k.a. Toronto producer Airick Woodhead.
Ice Choir pays tribute to Kurt Feldman’s longtime infatuation with the radio-ready new-wave bands of the ’80s and early ’90s.
“Take a Walk” exists in that rare category of catchy, danceable music.
Propulsive drums, dense synthesizers, and Emily Haines’s enticing contralto are a reminder of Metric’s refreshingly kinetic, potent side.
Is it just me or is Hamilton Leithauser beginning to sound like Chris Martin?
Chimpanzee’s Oscar is but the latest filmic primate to captivate viewers.
The festival has blossomed into a great facilitator and promoter of international film and video culture.
Liars’s “No. 1 Against the Rush” is a tight arrangement of gloomy dance music.
“Kill for Love” is, on the surface, enraptured, but more than just a little creepy.
There’s a reason the comments section of Howse’s “VBS” is littered with words like “boner” and “orgasm.”
The latest track from Nas’s forthcoming Life Is Good won’t remind anyone of Illmatic.
The festival is committed to compiling a slate of artistically diverse films from every corner of the world.
Beach House seems to have known from the beginning what they wanted their music to sound like.