Amid the chokehold montages and extended conversations of the cast discussing and tiptoeing around homophobia, Greene’s film is imbued with empathy.
Hula and Natan is so amusingly foul-mouthed that it becomes, in part, a study in the art of the comedic argument.
Michael Marczak’s At the Edge of Russia feels, in its early going, much like the work of a contemporary Romanian director.
Whatever Family Instinct may lack in authenticity, its flair is irresistible.
The film is a well-mixed assemblage of cacophony, rain, and detritus set in the Willet’s Point neighborhood of Queens.
The main thing that makes True/False so unspeakably awesome is that they do not care about premieres.
And Everything Is Going Fine is a fairly devastating gutpunch of a film.
The Mirror is an affectionate tribute to a way of life I’m not necessarily inclined to celebrate.
Unfortunately, most festivals aren’t as well-funded as, say, the one pictured below.