This year brought 18 features and seven shorts, all presented with live musical accompaniment.
Why isn’t Lee Chang-dong considered in the same company as Hong Sang-soo or Bong Joon-ho or Park Chan-wook?
The film has a queasy sensibility that has less to do with the gory remains than the twisted psychology on display.
Film usually reveals itself to audiences with splices and scratches, while Eastwood has shown how DV printing and projection can look pristine.
A man lathers himself with shaving cream, then looks into his mirror.
Mysteries of Lisbon plays as an endlessly compelling juggling act.
Like most omnibus movies, Revolución is uneven and sometimes underdeveloped.
Old Cats is a clear-eyed, empathetic understanding of the agonies of aging.
Formally, Kelly Reichardt’s fourth feature is some kind of masterpiece.
The characters and motivations are often muddy, but the message is always clear in We Are What We Are.
Another Year is a tale of haves and have-nots—those who are touched by grace and those who are not.
Another baroque example of the tragic fatalism inherent in heist films comes fromCriss Cross, later remade by Stephen Soderbergh as The Underneath.
13 Assassins shows that Miike can indeed color between the lines.
The film is suitably dark and dangerous and filled with well-honed, visceral scenes.
The festival presents films in ten theaters daily, nine of them within a few block radius.
Within Ruhr’s seven stationary shots, Benning tries to capture a whole world.
The rhythm of the gym dictates the rhythm of the film.
Film is a phantom, but a living one.
The film breathes with the intimacy of slow and purposefully written correspondence between two friends and confidants.
Just about everyone plays second fiddle to the costumes and set design that are Taymor’s trademark.
Souvenir, Souvenir, with its sharp, rapid edits between faces and bursts of sudden color, delights in dissolving people over animals and vice versa.