Béla Tarr might be a man of few words, but those words pack quite a punch.
To get an idea of A Separation’s thematic scope, imagine a slow moving avalanche that starts with a single bad decision.
Prince is once again an obvious touchstone on Lindstrøm’s latest.
No one is ever alone in these films.
A number of films at this year’s festival hover in the realm of science fiction.
Call off the dogs.
One city, one day. That Aristotelian unity is an alluring structure for a film.
Consider this the “feel bad” dispatch of AFI Fest 2011.
São Paulo International Film Festival 2011: Twenty Years Later, The Songs, & Sleepless Night Stories
Eduardo Coutinho’s Twenty Years Later is a film about a film. Sort of.
Miss Bala wears on its sleeve that its resilient heroine represents the Mexican body politic.
The Tsunami and the Cherry Blossom mourns Japan’s devastation and celebrates the possibilities of its rebound.
This Is Not a Film is a masterpiece aching with expected pain and unexpected laughter.
“Doughnut for a Snowman” recalls gentler, laidback numbers like “Peep-Hole” and “King and Caroline.”
It would certainly be easy enough to capture this stutter-step courtship by filming its gorgeous leads against gorgeous Swedish backdrops and calling it a day.
The promotion of Lynne Ramsay’s We Need to Talk About Kevin has been all over the map.
At 65, Charlotte Rampling is still one of cinema’s great iconoclasts.
Tone, nuance, restraint.
The past is being borne ceaselessly into the future in Luchino Visconti’s The Leopard.
A “review” of sorts that makes no pretence to politeness gets to the core of the problem for skeptics.
Amy Herzog’s Belleville is most provocatively a conversation of objects.