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.
Perhaps as notable as what made the cut is what didn’t make it onto the lineup.
As evangelistic as I tend to get about making new discoveries at TCMFF, the familiar can also be revelatory.
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.
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