The festival’s greatest singularity is two-fold: its lack of pretense and judicious curatorial eye.
The title of Peter Bate’s BBC documentary Congo: White King, Red Rubber, Black Death is nothing if not direct.
With the tiniest, most generous of building blocks, the film says so much about the way we love and repel one another.
Pity that the story behind the making of Ushpizin is more interesting than the film itself.
After Innocence doesn’t inspire much confidence in the American legal system.
Land of Plenty is your typical Win Wenders doodle, except its meaning is now explicitly rubbed in our faces.
No filmmaker since Hitchcock is as consumed by his own voyeurism—and moreover, ours—as Michael Haneke.
Of all the acknowledged masters of cinema, the Japanese director Mikio Naruse is perhaps the one least known in the West.
Bono need not appear in a film for his massive-sized ego to be felt.
Hirohito in Aleksandr Sokurov’s staggering and brilliant The Sun is a man trying desperately, though honorably, to avoid an inevitable turn of the tide.
Pier Paolo Pasolini’s Teorema is basically a film about Terence Stamp’s crotch.
Self-awareness and acknowledgement of odious behavior doesn’t automatically grant one a license to indulge in said conduct.
The unsurpassed beauty of Antonioni’s visual art lifts his two-penny story and hollow people into the exalted realm of the senses.
Films like Cannibal Holocaust are consumed, even by otherwise jaded gorehounds, as endurance tests. This is their decathlon.
Steve Box and Nick Park’s film is sublime, insightful, and resonant.
Like much of Michael Winterbottom’s work, the film is a highly uneven enterprise.
Hunger is one of Gabrielle’s many subjects.
Sarah Silverman: Jesus Is Magic is mot quite as raunchy as The Aristocrats, but it’s also twice as offensive. Good.
A fatalistic tale of identity, destiny, coincidence, existential malaise, and the boundaries between the real and the imagined.
Emmanuel’s Gift has an unnaturally sustained infomercial-esque feel.
Hou’s latest is a rumination on the symbiotic union between the past and present, the personal and the political.