A number of notable films at IFFR this year are concerned with our digital lives and people trying to survive in a fractured world.
Both films, part of the festival’s Tiger Competition, bask in philosophical and erotic consequences of illness.
The festival is now part-streaming and part-live on a variety of platforms.
The first international edition of the Noir City film festival in six years showcases the diversity and malleability of noir.
It’s a provocative juxtaposition for Dry Wind to stage its queer kinkfest at the epicenter of the land of Bolsonaro.
There’s something equal parts twisted and romantic about the left-for-dead format of the drive-in theater uniting with theater-killing streaming technology to preserve the institution of the film festival.
The exhilaration of virtual film festivals is that they radically expand the access and means of audiences.
There’s colossal might to a cinematic image achieved through the scrappiest of means.
These notable documentaries utilize found footage to document the aftermath of dying in dramatically different fashions.
Many of the films at Visions du Réel expand the notion of “the real” in all of its plasticity.
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.
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