Altiplano hypnotically braids strands of Incan mythology, Catholic voodoo, and campesino outrage.
The film earned the Dardennes a screenwriting award at Cannes, and, indeed, the plot machinery is more visible here than in their other gritty fables.
Clammy provocation and surreal fable, Ursula Meier’s film is predicated on thematic and sensory contrasts.
Congorama’s surfeit of plot twists and implausible coincidences strain narrative credibility.
Give a chance to L’Enfant, because more so than any film released this year in the United States, it deserves it.
The film is a quirky ode to romance and a showbizer’s life on the road.
L’Enfant’s swirling sense of moral chaos, sustained horror, and courage has not been seen since The Son.
Throughout, Michael Haneke’s images are profoundly evocative of his moral and philosophical preoccupations.
The skin tones on this disc are so accurate they’re almost ethereal.
Bertrand Tavernier’s explores love and intrigue at the Continental studio with engaging workmanlike precision.
The latest film by Jean-Pierre and Luc Dardenne is not without allegorical implications.
At first glance, the evidence tying Hitchcock to Audiard’s Read My Lips seems purely circumstantial.