There’s colossal might to a cinematic image achieved through the scrappiest of means.
It’s difficult to imagine Rotterdam as a place where a film festival isn’t taking place at all times.
Experiencing the Under the Radar Festival replaces the usual sense of familiarity with a sense of wonder.
The year’s best documenaries found the monstrous in the mundane, the epic in the everyday.
There was plenty of merit to the connections being made at Los Cabos between filmmakers and audiences.
The film image opens a space for both a reckoning with the old and the creation of the new.
If cinema is, indeed, the domain of freedom, then the festival doesn’t see Netflix as the villain in that struggle.
A striking number of the titles that appeared in the festival’s competition slate this year operate in a playful, breezy register.
Even the most casual exchanges at the festival ended with some variation of a sentiment that arose as a mantra: “It’s complicated.”
The festival feels very much on the rise, both as an international industry shindig and a well-funded driver for cultural tourism.
The festival feels like a long-awaited apparition in a place where events of its magnitude might be scarce.
Japan Cuts has established itself as the definitive Japanese film festival in the United States, thanks to the scope of its programming.
Docaviv continues to thrive in increasingly challenging circumstances.
Many of the selections at this year’s festival were genre films, or, at least, exhibited notable genre-adjacent elements.
These are three enigmatic, challenging, and weird works of art by filmmakers pushing at the boundaries of the cinematic form.
This year’s selections exhibit a scope and ambition that should continue to draw adventurous filmgoers for years to come.
Diversity is undoubtedly one of the strengths of the festival’s curation, as exemplified by films by Jodie Mack, Zhang Yang, and Jan Bonny.
In addition to Directors’ Fortnight, the festival announced the films that would screen as part of the ACID lineup.