This year brought 18 features and seven shorts, all presented with live musical accompaniment.
It’s funny how people use mundane tasks to mark time.
The film demonstrates with intoxicating lyricism the confluence of apparent contraries.
The social condition that ended La Chienne also ignites Renoir’s uproarious social satire.
Romantic idealism and environmental psychology become enmeshed, and indistinguishable, in the intimate Nights with Theodore.
Motorway takes an appropriately soft-shoe approach to one of the more endearing action-film premises in recent memory.
The film is a maddeningly underwritten thriller/domestic-drama hybrid.
The two life choices that Bergman entertains are frightening.
The film attests to Bellocchio’s technical mastery and formidable empathy.
The film is a lugubrious, elongated study of forced prostitution and political lechery.
The film is an extremely deadpan comedy about people resistant to change beyond all rational reasoning.
Miss Lovely envisions a world in which Hollywood glamour has been passed through a filter of grime and decay.
The Nun is a timeless story about a girl who’s sent against her will to a convent as a tenuous, quick fix to her precarious place in life.
Films about the not-so-great outdoors pervade this year’s festival.
As fundamental to The Island of St. Matthews as the landscape may be, the faces reign supreme.
Don Jon’s Addiction is a film whose underlying themes are reminiscent of the more dramatic Shame.
Given the amount of the public information available about Steve Jobs, the film feels like a lazy exploration into his life.
Vivid, striking, and methodical in its approach, Upstream Color’s visual aesthetic is both provocative and beautiful.
Lovelace seems unwilling or unable to go to deeper and darker places.
The Themersons have been compared to artists László Moholy-Nagy and Man Ray.
With all thrillers, the payoff is as important as the setup, and it’s in the final revelations of the story that Stoker truly falters.