TCMFF continues to valiantly pursue the preservation of Hollywood film history.
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.
This is definitely one of those films made of moments greater than the whole.
There’s not much new here, aside from Lumet’s enthusiasm and simple craft.
Both employ vivid palettes of light and color to evoke feelings of adventurous movement through time and space.
The film never coheres in the ways its individual moments suggest it will.
By most accounts, this year’s New York Film Festival is one of the strongest in years.
The Japanese legal system comes under intense scrutiny in I Just Didn’t Do It.
It isn’t until you’ve been granted full press access at the Toronto Film Festival that you realize this really is a people’s festival. I
Diary of the Dead gleefully engages with themes of spectatorship and subjectivity.
Motivations are constantly being re-examined in the film, though Ira Sachs never privileges one point of view over another.
The film is an eye-popping pageant parade masquerading as rapturous religious art.
Save for Silent Light’s bookend sequences, Reygadas works mainly in the implicative margins.
Argento’s triumph comes in fusing two schools of cinema-thought together, cranking the gore and monster quotient up to 11.
The Man From London is a multifaceted apotheosis.
Jean-Dominique Bauby’s story is one of struggle and perseverance.
This year’s Human Rights Watch International Film Festival features one of the strongest lineups in the program’s history.
The 60th edition of the Cannes Film Festival has come to a close.
The San Francisco International Film Festival might be forgiven for a bit of self-love.
For the greatest examples of the human condition, one only needed to really look in two places, one in the least likely place imaginable.