This year brought 18 features and seven shorts, all presented with live musical accompaniment.
Harrison’s search for spiritual fulfillment might not have been so fervent had it not been for the otherworldly success of the Beatles.
Sauna on Moon is less a classic narrative than snapshots of a life in progress.
Emphasis, as always, will be on the “Dragons and Tigers” program of over 40 features (plus compilations, mid-length films and shorts) from Asia.
Aki Kaurismäki’s latest is amusing and humane in good measure.
Unpredictable twists, a gathering sense of dread, and the tender humanism that infuse it all make Farhadi’s film absorbing.
The series shares with Sátántangó an interest in dissecting a social environment, uncovering unsavory human truths in the process.
The exterior mirrors the interior and vice versa in Melancholia.
If nothing else, the film is a terrific example of a minimalist style employed with near-maximum effectiveness.
The most striking thing about Carnage is how much funnier it is than its source material.
Th selections confirm the curators’ ability to gather together both heavily buzzed-about titles and lesser gems in one trim 27-film main slate.
I can think of worse tasks than judging films in the elegant Basque city of San Sebastián, known as Donostia to the locals.
A Mysterious World might be the most auteur-y object to emerge from the festival’s “City to City” Buenos Aires-themed program.
A Golden Novak Djokavic, in recognition of otherworldly improvement in 2011, goes to Yorgos Lanthimos for Alps.
Wuthering Heights is designed to hack away at the ornamental crust created by years of genteel literary adaptations.
Low Life’s perpetual twilight evokes a space between the late films of Robert Bresson and Pedro Costa’s digital works.
Moneyball confronts co-writer Aaron Sorkin with a milieu in which he has trouble being putatively witty.
Sleeping Beauty is enervated, ludicrous, and the sort of unique debut that makes one impatient to see what comes next.
As unburdened, freely (dis)associative works, it’s barking up the wrong tree to assign meaning to a film by Nathaniel Dorsky.
Twixt is Francis Ford Coppola in grindhouse mode.
Mohammad Rasoulof’s Good Bye brings Rossellini’s ’50s to today’s Tehran.