The discursive nature of the Surrealist parlor game exquisite corpse mirrors the way that power flows in Francesco Rosi’s films.
Hamaguchi Ryûsuke discusses his two latest films and how he lets humor color his thematic exploration of chance.
At their best, writer-directors Mario Furloni and Kate McLean evince a masterful grasp of storytelling that’s subtle and rich in innuendo.
Todd Haynes discusses The Velvet Underground’s split-screen aesthetic and why Lou Reed’s death had to serve as a “structuring absence.”
The film is too blinded by manufactured sentimentality to see the more compelling what-if scenario lying right in front of its eyes.
The film is a ghost story as well as a story of transference, which Pedro Almodóvar understands to be one in the same.
Ridley Scott’s medieval saga insightfully revels in the complexities of its competing storylines.
Luzzu retains the structure of a neorealist film, as well as its themes of class and desperation.
Jessica Kingdon’s maintenance of her critical and often ironizing perspective keeps Ascension from tipping into polemic.
Aside from being a thrilling account of a hair-raising rescue, the documentary attests to living a calling.
The film feels like a missed opportunity to interrogate society’s fervent need to make pariahs out of people for their youthful mistakes.
The film’s performances evocatively attest to how people struggle to withhold the agony of their true feelings.
For too much of its running time, Hit the Road is untethered from any kind of captivating narrative purpose.
Though eerie and quietly deadpan, the film circles its grab bag of themes for so long that it also becomes tedious.
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These films show us utopias, dystopias, distant planets, and our own Earth destroyed.
The ‘80s haunted this year’s Polish Film Festival, which is billed by its organizers as one of the oldest film events in Europe.