This year brought 18 features and seven shorts, all presented with live musical accompaniment.
Accident eventually settles into more familiar narrative rhythms, owing quite a bit in tone and message to The Conversation.
Tomorrow, I meet a camp Indian cowboy, two Aboriginal car thieves, a lonely girl impregnated by her own father, and a bunch of undead Nazis.
The occasional trenchant idea only makes you more impatient with Romero wasting his time with jokey shadows.
the bodies corporeal and politic are one and the same in Morphia.
The most significant exception to Yang’s concern with the present day remains the much lauded but rarely seen A Brighter Summer Day.
Chabrol, Depardieu, murder, family quarreling—all seemingly wonderful elements that, when put together, should be engaging and fascinating.
Wild Grass was the zippy standard bearer for the spirit of “there’s nothing you can’t do.”
Film Festivals come and go. What’s important is what stays with you.
It’s a prankster film that seems to have been made on the fly by Korine and a handful of his friends.
Whatever his reasons, Khrzhanovsky directs his first (mostly) live-action feature, at age 69, as if it were his own last testament.
Lebanon is a good old-fashioned Sam Fuller war picture, all capital letters and tight close-ups.
I can forgive Corneliu Porumboiu’s film for its didacticism because it feels well-earned.
After Jean-Pierre Jeunet’s wantonly prettified toy cities, Trash Humpers’s pageant of belligerent grubbiness is almost welcome.
It once again brings something like the best—or at least most talked about—Cannes offerings across the pond for their American premiere.
Further memories of murder with Bong Joon-ho.
My Son, My Son, What Have Ye Done works most intriguingly as a curious meeting between simpatico but ultimately incompatible artists.
Visions of demented lyricism giddily punch through Bad Lieutenant: Port of Call New Orleans’s hack-policier surface.
With The Imaginarium of Doctor Parnassus, Terry Gilliam gets his Fellini freak on.
Von Trier is a compulsive button-pusher in the battle of the sexes, the battle of political correctness, the battle of cinema as playground of ideas.
Telluride effectively plays two roles within the film festival economy.