The festival’s curatorial boldness has never felt so necessary.
Death Will Come is a conspicuously de-glamorized tale of violent characters on society’s fringes.
These found-footage films further solidify Jude’s status as one of our most vital artists.
It’s Not Me begins with a modest “I don’t know” as a riposte to a proposed riddle.
These three films bear the scars from a region’s history of violence like a fertile inheritance.
TCMFF continues to valiantly pursue the preservation of Hollywood film history.
For its 27th edition, the festival presented 20 features and six short films over five days.
The festival’s greatest singularity is two-fold: its lack of pretense and judicious curatorial eye.
A highlight of this year’s festival was the focus on the work of Basma Al-Sharif.
What makes IFFR so endearing is an atmosphere that’s joyful and devoid of self-importance.
In its new iteration, Under the Radar, which runs through January 21, hasn’t missed a step.
From 30 Seconds to Mars to Rina Sawayama, we’ve compiled our favorite moments from weekend two of ACL.
Many of the ghosts and whispers of the past were on display at the festival’s 48th edition.
If there was ever a time when we needed to be reminded that the art of cinema is in robust health, it’s now.
This year’s festival was the site of more than a few alternately jarring and fruitful clashes.
The 26th San Francisco Silent Film Festival was another joyous gathering of silent cinema.
Marseille’s contradictions were particularly evident at this year’s FIDMarseille.