This year brought 18 features and seven shorts, all presented with live musical accompaniment.
The film manages to be a law unto itself even in light of Guy Maddin’s previous oeuvre.
The 45th edition of IFFR will be the first in nine years without current artistic director Rutger Wolfson at the helm.
Christmas, Again opens with a series of diffuse, colorful lights, suggesting the electronic video art of Nam June Paik in their abstract arrangement against a black background.
Migrating Forms remains the art-house event of the New York moviegoing calendar.
There’s something potentially erotic about nocturnal, and body-less, interaction with strangers even if the hotline isn’t overtly sexual in nature.
Sex(Ed) works well when it allows for the archival footage itself to tell its story.
Its exploration of the darkest corners of the human psyche is equal to, if not superior, to Seidl’s most recent narrative features.
Neighbors is so intricately composed that one might sometimes forget that this a film and not a moving painting.
Much like the surrealists, Walerian Borowczyk mines the sexual terrain for what it reveals about human inventiveness, as well as our fears and follies.
The detail Fincher will bring to Gone Girl’s secrets may speak to the essence of this ambitiously far-flung cultural event.
Unfortunately, Rosewater rarely builds off the scenes between Gael García Bernal and Kim Bodnia.
The immediate effect is attention-grabbing, distressing, and in a few cases also emotionally affecting.
A new element in Look of Silence is the view it offers of those who knew murdered victims or who managed to escape death.
Abel Ferrara’s wholly unconventional biopic manages to stick in the brain like few I’ve seen so far.
Theodore Melfi’s debut feature, St. Vincent, is a heartwarmer that never insults.
Phoenix perpetuates one of the best contemporary director-actor collaborations.
Even the title speaks to Roy Andersson’s paradoxical blend of the ornate and dryly blunt.
Writer-director Dan Gilroy does a fantastic job at first of drawing out his protagonist’s eccentricities.
Lynn Shelton’s film feels as rehashed as Dan Gilroy’s Nightcrawler, albeit to entirely pleasant results.
Dolan employs an assortment of stylistic elements that, through their extravagance, stop him just short of owning his characters’ emotions.