This year brought 18 features and seven shorts, all presented with live musical accompaniment.
Here’s to many more freaky years at the New York Asian Film Festival.
Adjectives don’t stick easily to Marilyn Monroe, to any of the hundreds of Marilyn Monroes that exist.
Stéphane Lafleur does nothing to disavow me of the notion that Canada is some kind of depressing anomic frozen wasteland.
Giulia Amati and Stephen Natanson’s documentary is a startling glimpse into life at ground zero of the Israeli occupation.
As a result of filmmaking both respectful and restrained, an array of poignant images, in wide and long shots as well as in close-ups, emerges.
Fatima Buntinx carries Las Malas Intenciones on her diminutive shoulders, and her performance treads a fine line.
Life, Above All feels more like a lecture about a problem than a window into a world.
While it illuminates the importance of citizen journos, the film also unintentionally highlights their limits.
Three nonfiction features at this year’s festival take 21st-century incarceration, and accompanying judicial abuses, as their focus.
Norwegian Wood is a film suffused in melancholia and disconnection.
This is not a film that has been close to universally seen, which makes its appearance here all the more notable.
Part of the pleasure of Na’s film is that it never actually feels plotted as it unfolds.
Mohammad Rasoulof anticipated his own fate.
Shadow of the Holy Book is a failed attempt to shame the vast array of international corporations that do business in Turkmenistan.
Raúl Ruiz’s Mysteries of Lisbon is a film of exquisite elegance.
3 is about the possibility for opening up to the possibility of experiences beyond the socially proscribed norms.
Opening night arrived with one of the least memorable films of recent memory.
Note to self: Be careful what you wish for.
With his latest, Nuri Bilge Ceylan is purely interested in slowly unveiling a thematic can of worms that will tear people apart one long take at a time.
The 60 shorts and features in this year’s Migrating Forms festival are not, in any ordinary sense, train movies.