This year brought 18 features and seven shorts, all presented with live musical accompaniment.
The real test of a festival must, at some point, come down to the strength of its new titles.
As the festival celebrates its 50th year, it continues to be a major showcase for Central and Eastern European cinema.
Many of the excellent documentaries screened at BAFICI articulate a surprisingly coherent argument about nonfiction filmmaking and its relationship to the real.
It’s the unlikely third-part arrival in a widescreen, English-speaking Australia in 2025 that proves to be Jia’s undoing.
In a competition otherwise marked by compromise and caution, Hou Hsiao-hsien’s austere, astounding film feels like it’s been beamed in from another era entirely.
The one saving grace of Sicario is the considerable talent of cinematographer Roger Deakins.
Weerasethakul’s films have always been marked by their tenderness, unobtrusive rigor, and desire to splice the straightforward with the oblique.
To confer a bit of artsy edginess, Trier peppers this slickly shot, scripted-to-death family drama with flashbacks, dream sequences, and what-if scenes.
Carol slots into Haynes’s filmography like a wintry, understated cousin to Far from Heaven.
The first and by no means last example of The Sea of Trees’s egregious literalism appears even before the film has properly begun.
Lanthimos’s films live and die by their concepts—or gimmicks, depending on your outlook.
The most telling revelation in Tale of Tales has little to do with ugly sisters, transmogrified monsters, or angry ogres.
For all its gestures toward taking a more thoughtful approach toward genre tropes, the film ultimately ends up conforming to them..
Like Cake, Meadowland takes a slow, painfully close look at the effects of a parent losing a child.
Dirty Weekend finds the generally prickly Neil LaBute in a relatively lighthearted mood.
Toto and His Sisters is visually impersonal, but nonetheless conjures up risky, relevant, and quite personal ideas.
Greetings to the Ancestors builds a peculiar aura less reducible to the cumulative effect of a series of art-house mannerisms.
Niccol has awkwardly shoehorned in broad talking points from various sides of the drone controversy.
The Cut lives up to its title, creating two sets of strong, sometimes dueling reactions.
Man Up’s quick-paced, quippy dialogue aims for screwball sass and sizzle but doesn’t quite hit the mark.