One of Hou’s constant themes (one that recurs in the work of many of the notable Taiwanese directors) is alienation, not just of a personal, but of a national sort.
In keeping with his recent work, Panahi turns the camera on himself and his own government-imposed creative struggles.
The Notorious Mr. Bout romanticizes rather than humanizes its rather thorny subject matter.
The bars in both Closed Curtain and Crimson Gold allude to the cognitive imprisonment of its characters.
We’re sensing that, once again, Best Picture will fall just shy of 10 nominees.
American Animal’s poster, like the film, finds common ground between the high- and lowbrow, the artful and the infantile.
See below for a list of the films that just missed making it onto our list of the best films of 2012, followed by our contributors’ individual ballots.
This Is Not a Film is a masterpiece aching with expected pain and unexpected laughter.
São Paulo International Film Festival 2011: Innocent Saturday, This Is Not a Film, & More
Aleksandr Mindadze’s Innocent Saturday ultimately adds up to a lot of nasty hysteria.
The latest film by Jean-Pierre and Luc Dardenne left me speechless.
Alternately funny, sad, and infuriating, the film is a shiv smuggled out of a prison and driven deep into our hearts.
Restless mostly suggests a fuzzy remake of Four Nights of a Dreamer starring the cast of Twilight.
Stylistically, The Kid with a Bike is one of the Dardennes’ most fluid films.