Refn discusses his love of fairy tales, falling through the rabbit hole of streaming, and more.
Outlaw King rattles along at a bracing pace, but the assured bloodshed of the climax casts a weary shadow over the film’s middle section.
Fede Álvarez’s The Girl in the Spider’s Web suffers from a compulsion to be capital-C cool.
The title Weightless is an apt description for this stylish but emotionally inert film.
It was clear that current issues and events had a significant impact on the programming decisions.
The film’s verité approach risks humanizing Abu Osama, but we eventually gain a complex understanding of the banality of his evil.
Director and co-writer Hannah Fidell never finds the right mix of meaningful parable and sophomoric romp.
The film frames and as such simplifies Marie Colvin’s life work as heroic rather than tragic.
The Nutcracker and the Four Realms is the latest in a long line of fantastical, unwieldy takes on classic fairy tales.
Margarethe von Trotta’s documentary reminds us of the reasons for Bergman’s continued influence on cinema today.
Shevaun Mizrahi’s documentary is a master class in the art of the portrait.
Morgan Neville understands Orson Welles’s art to pivot on an ongoing quest to bring about self-destruction so as to contrive to transcend it.
This a much leaner film in terms of narrative incident than In the Family, though it paves the way for Patrick Wang to step into new artistic terrain.
The Other Side of the Wind isn’t a novelty item, but a work of anguished art that’s worthy of its creator.
Doclisboa offers a vertiginously eclectic and vast lineup, with a mishmash of old and new films from a multitude of countries.
Bodied uses a white boy’s entrance into the battle rap scene to stage a hilarious satire on political correctness and cultural appropriation.
The actor-director discusses the value of telling this particular coming-out story.
Despite all its confoundments, 9 Fingers works as a unified whole thanks to F.J. Ossang’s playful sense of humor.
The documentary is a loving, albeit meandering, tribute to the 20th century’s most famous—and infamous—soprano.
A yearning for tolerance united many of the festival’s films.
In the end, there’s little payoff for all the repetitive series of evocative visions and mute stares.