Robert Greene’s investigation of the on-air suicide of newscaster Christine Chubbuck is admirably engaged with the ethics of documentary, though not especially nuanced.
NO HOME MOVIE is one of the director’s highest achievements; an incredibly moving portrait forged out of the painful vestiges of passing time.
Ivo Ferreira’s period piece LETTERS FROM WAR wed voice-over readings of writings by an army doctor to images representing his experiences and thoughts, with inventive results.
Lewis Klahr revels in the popular visual iconography of 1950s and 60s America, creating a moving personal engagement with an archive of images.
Havarie is at once both a stark stylistic experiment and a thoughtful reflection on depictions of Europe’s recent refugee crisis.
Gina Telaroli’s Here’s to the Future! belongs to a long tradition of self-reflexive cinema focused on the mechanics, frustrations and joys of the film making process.
Amanda Rose Wilder’s Approaching the Elephant is a remarkable document of a utopian schooling experiment that shows great restraint in withholding judgment on its outcomes.
Corneliu Porumboiu’s THE TREASURE draws its strength and humour from the significant restraint Porumboiu displays in keeping the story simple.
HORSE MONEY demands a lot from but ultimately rewards its viewer and testifies to Pedro Costa’s evolution as an filmmaker.
While Thom Andersen’s The Thoughts That Once We Had will appeal above all to cinephiles familiar with Deleuze’s philosophy, its flashes of imaginative criticism make this a valuable reflection on image-making.