This year brought 18 features and seven shorts, all presented with live musical accompaniment.
Specific? Sure. But there’s nothing small about this deeply felt coming-of–age story.
Curling is a psychological study that refuses to go deeper than what the naked eye can detect.
Madly in Love is a film with the song and dance touch of Bollywood but set in Switzerland.
James Gunn is uninhibited about juxtaposing different tones and styles together in Super.
Tyrannosaur never convincingly justifies its pessimistic gender-warfare worldview.
According to Chandor’s logic, most of these characters are blameless victims by the time Margin Call takes place.
The slate showcases a geographically and aesthetically diverse range of films by neophyte auteurs.
Turkey Bowl is a comedy with a great ear for dialogue and a cast strong enough to make you wonder how much of it was improvised.
The film is a portrait of life in Bizarro World that’s impossible to look away from.
Green contains enough skill and vision to suggest possible triumphs ahead.
The film exudes the confidence of an artist willing to risk driving its audience up a wall in order to realize a defiantly unique personal vision.
Silver Bullets ranks as Joe Swanberg’s most intimate effort to date.
Different types of zombies walk among us.
This festival is trying to push that baseline definition of the documentary at its most banal.
There’s something about the night that is beautiful, mysterious, and humbling all at once.
El Bulli: Cooking in Progress needs more than scientific process to keep us hanging on.
Source Code packs, in dazzlingly virtuosic fashion, two mysteries in one.
No protagonist at True/False was more difficult to identify with than Joshua Milton Blahyi.
Amid the chokehold montages and extended conversations of the cast discussing and tiptoeing around homophobia, Greene’s film is imbued with empathy.
The recording of Sexsmith’s latest album, the workmanlike and pleasant Long Player Late Bloomer, serves as a loose framing device for the film.