In addition to Directors’ Fortnight, the festival announced the films that would screen as part of the ACID lineup.
Alongside fiction films depicting emerging voices, nine of the Panorma sidebar’s 45 features are documentaries about creative talents.
These films depict in distinctive ways the process of coping with and even accepting the dead’s presence in our lives.
These films suggest the cinema as another place where we can simulate and reflect on life within and surrounded by natural landscapes.
There’s a good chance that a female filmmaker will walk away with the Golden Bear for the second year in a row.
The festival doesn’t try to keep glamour at a pronounced distance from anything that might be considered unsightly.
It was clear that current issues and events had a significant impact on the programming decisions.
Doclisboa offers a vertiginously eclectic and vast lineup, with a mishmash of old and new films from a multitude of countries.
A yearning for tolerance united many of the festival’s films.
This year’s New York Film Festival main slate, the most geographically far-flung in recent memory, features 30 films from 22 different countries.
With Ray & Liz, Richard Billingham reaches further into the dark recesses of his childhood to deliver 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.
The festival program successfully raises universal questions that transcend the context in which they’re asked.
Today, the Film Society of Lincoln Center’s New York Film Festival announced its main slate of films for this year’s event.
Aaron Schimberg’s film isn’t much of an argument, just a provocative discussion.
The Wild Pear Tree sees Nuri Bilge Ceylan in a kind of self-aware dialogue with himself about the methodologies of his work.
Hopefully the arguments against Capernaum from the more discerning jury members will be strong enough to keep Nadine Labaki’s film from taking the Palme d’Or.
It feels like Lee Chang-dong’s most reflexive comment on the dramatic possibilities of his favored narrative form.