Colony essentially approaches Train to Busan’s setup from a 90-degree angle.
The film is a dreary series of disconnected scenes that take weak potshots at niche topics.
The Next Chapter is devoid of serious conflict, yet it hits with unexpected feeling.
The film is an impressively complicated and compassionate drama about shame and desire.
Monica is a rare cinematic experience where the style is the substance.
The film industry’s tribulations were the focus of some of the Korean competition’s best entries.
Love Again is nothing but a chintzy promotional tool for Celine Dion.
All three films are highlights of the festival’s the international competition
Warner Bros. will release Denis Villeneuve’s film in select theaters on November 3.
The film bears a none-too-comfy relevance to our own uneasy times.
The Belgian directing duo discuss how how they translated Paolo Coginetti’s novel into cinematic terms, their approach to music, and more.
The film exists largely to be replaced by the next shiny thing in the MCU conveyor belt.
The film stumbles sluggishly from one chapter in Foreman’s life to the next.
The sense that they don’t make mass entertainments like this anymore is palpable.
Mungiu discusses how he executed R.M.N.’s centerpiece sequence and more.
Christophe Honoré’s film tackles grief in a subtle, intriguingly indirect manner.
The film is concerned above all with capturing the mood of a pivotal historical moment.
The film is a meditative, slow crescendo of wounded feelings and quiet epiphanies.
Lee Cronin serves up considerable gore with monotonous, po-faced earnestness.
Britell discusses the connection between music and movement in Benjamin Millepied’s film.
This year, a theme emerged centered upon reflections of worlds ending, worlds forever changed.