One of the festival’s genuine, if lower-key highlights, which lent focus to its literary origins as well as to its filmmakers, was Intruder in the Dust.
Bérubé has crafted an accessible if still rigorous study of the way fiction grapples with intellectual disability.
Renoir’s most well-known American feature is a fascinating translation of the filmmaker’s methods and outlook into a Hollywood milieu.
Unlike the dire Red Riding Trilogy, Dreileben occurs in vertical rather than horizontal time.
A disappointing set. If you want real camp, look to other volumes in the series.
Chaw rages against the Hollywood machine’s depictions of class, gender and race, puncturing political correctness.