Throughout his documentary, Kirby Dick shows a great commitment to the stories of individual women.
As in a classic Hawksian western, friendship and professionalism are tightly knotted in Bernardo Ruiz’s frontera documentary Reportero.
Grizzly Bear has finally emerged to bring us the first cut off Veckatimest’s long-awaited and still nameless follow-up.
The real auteur of Ai Weiwei: Never Sorry turns out to be the subject himself.
The bigger questions that hover over the film are what else could have been done for Anna, and the limitations of art’s intervention in life.
The devil’s in the details, the saying goes, and in the case of Mondo Lux this is certainly the case.
The tension between life and artifice, between being and playing, is blurred in Cindy Sherman’s work.
“She Said OK” is a hip-hop Lars and the Real Girl.
There is understandably a slightly more rueful tone to this entry in the series, which is also true about high school reunions.
Like Glauber Rocha, Werner Schroeter harnesses the aesthetics of poverty to thrillingly radical ends.
In retrospect, the greatest achievement of Doc Watson, who died yesterday at 89, might have been his endlessly curious middle-aged brand.
Resplendent chaos is usually the jurisdiction of Doldrums, a.k.a. Toronto producer Airick Woodhead.
Credit hometown boy Nichols with getting the look and feel of rural Arkansas right.
Cosmopolis alternates between mannered repression and cold frenzy.
Kiarostami transplants his customary techniques to the soil of Japanese culture with unquestionable success.
Reygadas’s new film is a textbook example of how to tell a basic story in the most complicated, off-putting manner conceivable.
Self-critique or self-indulgence, Holy Motors isn’t afraid to attempt everything under the sun.
Anchored by an impressively modulated performance from Mads Mikkelsen, The Hunt is otherwise an indecisive, weak-kneed film.
Dominik mines an altogether different vein, worlds apart from the mournful, meditative, Malickian The Assassination of Jesse James by the Coward Robert Ford.
One of the most interesting offerings in this year’s Migrating Forms festival didn’t always feel like a film at all.