This year brought 18 features and seven shorts, all presented with live musical accompaniment.
Almayer’s Folly is a work of engulfing jungles and rivers, vehement and incantatory speeches, and piercing female gazes in front of and behind the camera.
Jean-Pierre and Luc Dardenne are modern cinema’s poets laureate of working-class marginalization and spiritual crises.
Tacita Dean approaches the problem of filming the notoriously reticent Cy Twombly by finding the most cramped, hidden spaces to stick her camera.
A Dangerous Method unsettles with its lucid visions of release and repression.
Unlike the dire Red Riding Trilogy, Dreileben occurs in vertical rather than horizontal time.
Restless mostly suggests a fuzzy remake of Four Nights of a Dreamer starring the cast of Twilight.
Perhaps the most irreconcilable and disturbing of all filmmakers, he possesses a sort of quiet mastery that doesn’t seem to be in vogue these days.
Silent cinema was uniquely suited to shooting in extreme conditions.
There is a defining contradiction at the center of Mr. Fix-It.
The forum side of the festival produced as much intellectual stimulation as hot air, as is usual with such round tables.
Pina Menichelli is the very ideal of the diva in Il Fuoco
The biggest film history news of 2010 was without a doubt the discovery of Upstream.
Sin! Booty-shaking! Sexy lingerie! Gambling! Home-wrecking dames! Gents who won’t take no for an answer!
The music of Gustav Mahler is appropriate for the kind of contemplation that Terrence Malick aims to evoke in The Tree of Life.
Festivals are strange and wonderful environments.
In interviews, a tone of amused cynicism always quietly undercuts the delivery of a veteran industry creative who’s mastered his innate awkwardness to become a natural extemporizer.
The weather has gotten better in Karlovy Vary. Sort of.
It’s silly to complain about anything when spending time in the company of Pedro Almodóvar, Jerzy Skolimowski, and Wim Wenders.
Polytechniques hemorrhaging atmosphere of dread and oncoming violence creates a space of inescapable soul-sick horror.
The representation of Cuba in cinema is exceptionally difficult to separate from its political context.