This year brought 18 features and seven shorts, all presented with live musical accompaniment.
Writer-director Ruben Östlund masterfully manages the marital tensions that drive the film’s plot forward.
What Leviathan takes most from Job—and also Thomas Hobbes for that matter—is its focus on subjugation.
Yann Demange’s ‘71 isn’t meant to look like one continuous shot, as Birdman is, but it often feels that way anyway.
Alejandro González Iñárritu’s anti-critic harangue is petty coming from a writer-director whose spotty filmography has largely been met with critical praise.
Unremarkable films propped up by exceptional lead performances are as much a certainty of the autumnal season as yellow leaves and pumpkin patches.
Unlike many of its similarly scaled brethren, the Sarajevo Film Festival is very much at one with its host city: equal parts up-and-coming and garrulous, and the product of oft-divergent influences.
Andrew Cividino’s short film Sleeping Giant shares The Dirties’s themes of bullying and peer pressure.
The Locarno competition got back on track and then some with the arrival of Pedro Costa’s long-awaited Horse Money.
It’s no wonder that film festivals are schizophrenic creatures, given the number of different functions they have to perform simultaneously.
Why are they laughing?
A specter is haunting Bologna.
The Liberator is upfront about lensing the world psychologically through Simón Bolívar’s eyes.
Los Ángeles follows the flow of migration back to its other endpoint across the border in a Zapotec village in Oaxaca.
The Supreme Price leaves you in awe of Hafsat Abiola’s grit and grateful for her tenacity.
The tiny Kino Otok – Isola Cinema Festival makes a very convincing argument for less is more.
There’s something undeniably special about viewing silent films at the Castro.
Goodbye to Language sees Godard make the leap to 3D with jaw-dropping results.
The film is one of the Dardennes least morally nuanced films to date.
With his latest, Nuri Bilge Ceylan’s characteristic obsession with his country’s variegated topography takes him to Cappadocia.
Hazanavicius takes on the horrors of war in this remake of Fred Zinnemann’s 1948 film The Search