What makes IFFR so endearing is an atmosphere that’s joyful and devoid of self-importance.
Politics come and go. Dictators rise and fall. But the circus is eternal.
Dahl casts his actors firmly in type, but doesn’t let them get away with simply rummaging through their trick bags.
Where God Left His Shoes is supposed to be gritty, realistic, and relentless.
Gardener of Eden has grisly fun with American vigilante mythos while paying deliriously strange, loving homage to Taxi Driver.
From the start, Two in One evinces a playful and personal obsession with the dialectics of cinema and theater.
The plot of this lovely movie, my favorite I have seen so far in the Tribeca Film Festival, is basically a soap opera, a Tehran-set version of Desperate Housewives.
The trailer for Vivere piqued my interest immediately.
Per usual, a considerable amount of this year’s selections are carryovers from Toronto and Park City.
Taste of Cherry might be Kiarostami’s most difficult film, what with its generally languorous rhythms and its nonchalant inquiry into suicide.
Entering the media installation portion of the retrospective is akin, one suspects, to entering the Iranian master’s head.
The series runs from February 23—March 2.
No surprise to read that Eric Rohmer was an early patron of the French filmmaker Jean-Claude Brisseau.
This year’s “Film Comment Selects” program collects 18 features that span the full spectrum of the cine-world stage.
Secret défense feels in many ways like a culmination—Rivette’s ideologies and obsessions distilled to a perfect essence.
MOMI’s Jacques Rivette retrospective enters its sixth week with four screenings.
This is a more generous and inviting film that lives up to the complex implications of its now-removed subtitle.
The Complete Jacques Rivette retrospective enters its fourth week at the Museum of the Moving Image.
The Museum of the Moving Image’s complete Jacques Rivette retrospective moves into its third week with screenings of three more recent features.
As the saying goes, if you see only one Rivette film…
There’s little of substance here beyond a slightly pleasurable twinge of recognition.