TCMFF continues to valiantly pursue the preservation of Hollywood film history.
Any film festival dedicated exclusively to the treasures, glories, and the occasional folly of the past is likely to be visited by ghosts.
New Directors/New Films is practically a pu pu platter sampling of some of the more memorable titles you missed at Park City.
A melancholy air blows through every haunted frame of Hong Sang-soo’s On the Beach at Night Alone.
Kaurismäki rhymes his characters’ feelings of alienation to the mise-en-scène’s pastel blues and decaying browns.
Guadagnino’s film proves affecting as a chronicle of a young man learning to embrace his more emotional side.
In The Dinner, writer-director Oren Moverman wastes no time in establishing a tone of grandiose scabrousness.
Compared to its predecessor, director Danny Boyle’s T2 Trainspotting is a relatively aimless and sedate experience.
At the Tiradentes film festival, a major artistic shakeup takes place that reflects Brazil’s contemporary zeitgeist.
The film’s crucial shortcoming is its failure to illuminate both the inner life and artistic genius of Django Reinhardt.
Mister Universo is designed, shot, and edited like a feature but, in fact, made from the stuff of nonfiction.
We Are the Flesh evokes human desire, unfettered by social mores, as the supreme expression of all the world’s evil.
You can experience the festival from beginning to end without leaving the island of Zamalek.
Tsukamoto said that the driving influence of his breakout ’90s genre work was the concrete labyrinth of Tokyo.
Tarr talks jury duty at this year’s Marrakech film festival, his film.factory, Donald Trump, and more.
The films at this year’s festival offered plenty examples of legacies lived up to and not—neglected and obsessed over.
Zurich Film Festival 2016: Vanatoare, Europe, She Loves, Sketches of Lou, The Eremites, & More
A vivid sense of place is often the saving grace of Ronny Trocker’s rambling Austrian-German indie The Eremites.
Uncle Howard attempts to do much the same thing as I Called Him Morgan but with less success.
Petra Epperlein’s personal ties to the subject matter provides the documentary with a necessary anchor point.
Gabe Klinger’s Porto is less of a city symphony than a muted impressionist painting of urban drifting.
This year’s festival is chockablock with studies of human relations that are connected to a soulful sense of consciousness-raising.