Andrea Pallaoro’s Hannah attains a discomfiting intimacy in its chilly examination of a woman coming undone.
Matthew Porterfield’s Sollers Point conveys the limitations of freedom within towns like the one at its center.
Anomalisa exhibits Charlie Kaufman’s patented mix of tender melancholy and dark, absurdist comedy.
The Club isn’t content to present a simple litany of crimes connecting the church with the Pinochet dictatorship.
We Are Mari Pepa captures the energy of aimless adolescence with a loose and ambling story structure.
In Bloom is constructed in part from writer-director Nana Ekvtimishvili’s memories of childhood life in 1990s post-Soviet Georgia.
The real world, or at least the attempt to transmit some finite aspect of it, has been the aim of many a film.
Everybody’s Got Somebody…Not Me film gingerly navigates its display of sexuality.
Béla Tarr might be a man of few words, but those words pack quite a punch.
To get an idea of A Separation’s thematic scope, imagine a slow moving avalanche that starts with a single bad decision.
A number of films at this year’s festival hover in the realm of science fiction.
Consider this the “feel bad” dispatch of AFI Fest 2011.
Miss Bala wears on its sleeve that its resilient heroine represents the Mexican body politic.
This Is Not a Film is a masterpiece aching with expected pain and unexpected laughter.
It would certainly be easy enough to capture this stutter-step courtship by filming its gorgeous leads against gorgeous Swedish backdrops and calling it a day.
For the first time, I can’t excuse the bull Clint Eastwood is selling.
Ideology and action become hypnotic bedfellows in 13 Assassins.
John Sayles’s human mosaics have always sparked hope for the salvation of American independent film.
Outrage always juxtaposes the unsettling action with a beautifully crisp formalism that makes the film increasingly disturbing.
True love sweeps into a person’s life like a volatile weather system, bringing with it an exhilarating sense of hope and possibility.