It grapples with emotional enigma of infatuation, and the question of how such a mighty force can also be so fleeting.
Gabe Klinger’s Porto is less of a city symphony than a muted impressionist painting of urban drifting.
Benning and Linklater are totally comfortable being filmed, yet there’s not a whit of affect to their roundabout conversational divergences.
The tiny Kino Otok – Isola Cinema Festival makes a very convincing argument for less is more.
In the 1960s, a branch of Brazilian cinema emerged so daring, thrilling, and varied that in hindsight people disagreed even over what to call it.