The film is comic yet vicious and cynically bleak in its portraiture of Japan’s silent plague.
The Amateur is exciting for the way that it sustains its corkscrew tension.
Throughout, the filmmakers’ sympathies are lost in a confusing haze of cynicism.
It presents all the complex and seemingly contradictory emotions of a forced life on the road.
Gianluca Matarrese’s documentary is movingly premised on the responsibility of witness.
There are multiple ideological and formal clashes at the heart of Maura Delpero’s film.
Eastwood’s film casts a morally inquiring side-eye at the American legal system.
Here, the thrills of the journalism procedural come at the expense of ideological nuance.
As ever, the loving textures of Aardman’s claymation practically warm the heart.
The 49th edition of the festival was a showcase of more liberal sentiments and artistic styles.
Writer-director Rungano Nyoni’s second feature is as acerbic as it is unforgiving.
Stretched to its ideological limits, Pepe is about the nasty domino effect of colonialism.
The witty repartee between Clooney and Pitt feels like the only thing holding the film together.
Writer-director Asmae El Moudir’s examination of the Bread Riots is intensely personal.
This is a film of noble intentions, and it boasts vulnerable performances from its cast.
The film ponders what it means to have the power to distort and weaponize collective memory.
The film is a trenchant look at how the police have only built their impunity over time.
Matsunaga Daishi’s Egoist is a love duet full of intimate gestures.
The comparison to Christopher Nolan’s breakout doesn’t do Adam Cooper’s film any favors.
The film does Nicholas Winton a disservice by reducing his heroics to the stuff of facts.