Berlinale, the most smoothly run of all major festivals, is a pleasure for the Anglophone.
In Lola’s downtrodden Manila setting, everything revolves around money.
The extended car ride sequence in Kinatay represents the dizzying peak of Mendoza’s filmmaking.
In Serbis, sex, like everything else, is first and foremost a question of economics.
Serbis may be the first film to equate third-world life in the late capitalist era to squatting in a rundown porn palace.
Jean-Pierre and Luc Dardenne continue their remarkable streak of films with Lorna’s Silence.
An issue film that doesn’t play like one, Foster Child hangs compellingly from the shoulders of its characters.
Brillante Mendoza’s Foster Child is actually a home-movie tour de force.