The film is as modest and self-explanatory as its lower-case title suggests.
As unburdened, freely (dis)associative works, it’s barking up the wrong tree to assign meaning to a film by Nathaniel Dorsky.
Mohammad Rasoulof’s Good Bye brings Rossellini’s ’50s to today’s Tehran.
The 60 shorts and features in this year’s Migrating Forms festival are not, in any ordinary sense, train movies.
Within Ruhr’s seven stationary shots, Benning tries to capture a whole world.
What’s troubling about this picture of education (as remembering) is that it sounds like nothing new was built, that to learn is not to create.
Happy-Go-Lucky works because the outlines are banal but the performances are phenomenally lived-in.