The festival’s greatest singularity is two-fold: its lack of pretense and judicious curatorial eye.
Let’s make it count
In person, Robert Towne looks every inch the survivor of the Seventies New Hollywood that he is.
Leigh’s famous working process received special attention throughout the Q&A, particularly from the aspiring filmmakers in the crowd.
Guy Maddin’s thrilling, ingenious My Winnipeg is a love letter to the Canadian director’s hometown.
Tom Kalin’s first feature since 1992’s Swoon is a dull pastiche about the life and murder of socialite Barbara Daly Baekeland.
Tribeca Film Festival 2008: Profit motive and the whispering wind and Hidden in Plain Sight
Always recorded in what appears to be high spring or summer, Profit motive and the whispering wind‘s succession of memorials is reverent but never somnambulant
Redbelt is faithfully cast in the tradition of Jean-Pierre Melville’s Le Samouraï.
The documentary shows that Philippe Petit’s success had as much to do with his skill as a salesman as it did with his otherworldly equilibrium.
For me, movies approximate a dream state.
An issue film that doesn’t play like one, Foster Child hangs compellingly from the shoulders of its characters.
Now in its 37th year, ND/NF kicks off tonight with a screening of the Sundance Film Festival prizewinner Frozen River.
Another trend that persists is the allotment of at least one spot to a Sundance prizewinner.
One of the things that South by Southwest teaches best is that choice, and the illusion thereof, is potentially paralyzing.
Honestly, I’m not really sure how it’s possible that South by Southwest exists.
Funny Games writer-director Michael Haneke is a clever guy.
Viva is great camp because it’s so over the top—pushes the envelope in all directions—while remaining dryly and wickedly deadpan.
All Is Forgiven’s style may be hermetic, but all the better to keep the plot away from the melodrama it would’ve turned into in lesser hands.
The presence of an Alex Cox sidebar hints at the series’s anarchistic strivings.
Global Lens is a collaboration between the Museum of Modern Art and San Francisco-based organization the Global Initiative.
The film is indeed a kind of secret sunshine in its first act, offering some quiet, embracing, jaunty realism.