This year brought 18 features and seven shorts, all presented with live musical accompaniment.
Crystal Fairy is no Fear and Loathing in the Atacama.
Raoul Peck’s Fatal Assistance, on the other hand, holds an appropriately cynical attitude toward spectacle.
These characters, as unique as they are, are nevertheless of a fundamental relation to that of all Jarmusch creations.
James Gray has been working toward The Immigrant for his entire career.
The men in Alexander Payne’s movies are on a constant journey.
Kristin Scott Thomas’s sadistic mother figure is indicative of the film’s problematic construction.
Both of these films make an asset out of their respective pillaging of genre signifiers.
The film has enough latent charm and unique personality to standout amid a career of wild diversions.
If Kore-eda is tilling familiar soil here, he continues to do so at the height of his powers.
Farhadi utilizes living quarters as an area of adversity rather than comfort.
From the opening moments of Jia’s film, something strange is afoot.
Coppola’s fascination with the young and over-privileged reaches a logical plateau with The Bling Ring.
The Machine impresses on the strength of both its ideas and its evocative style.
Green has crafted a debut as fresh, intimate, and compassionate as Lynne Ramsay’s Ratcatcher in 1999.
Kat Coiro’s film is a frustrating case of a great opportunity blown.
More than anything, Alberi is about the essential significance of nature.
Fernando Lavanderos’s Things the Way They Are is a riveting character study, at once sexy and detached.
You couldn’t help but wonder if this year’s Ebertfest was going to be the last.
The film is a serviceable, if unremarkable, tale of doomed, cross-class love and criminal activity.
Emma Roberts takes on the difficult task of convincing an audience to root for an obnoxious, self-obsessed aspiring poet.