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.
The Art Gallery of New South Wales has announced their latest screening series, a collection of films looking at “cinema’s engagement with social struggle and revolutionary culture.”
Croatian director Ognjen Sviličić’s fifth feature film’s dedication to the minimal social realist aesthetic produces some touching reflections on the family unit outside of its overarching narrative.
Another nuanced and moving rumination from Patricio Guzmán tracing the contours of Chilean history in the natural phenomena that has born witness to centuries of human misdeed and injustice.
Though it probably won’t be spoken about in the same breath as the major films directed together with his brother David in the Direct Cinema heyday, Iris is a tempered, intimate piece of portraiture and a fine end to an important body of documentary filmmaking.
Lav Diaz’s epic 6-hour opus is a solid cinematic experience, more than worth a look in a theatrical context if such an opportunity presents itself.
For those just beginning to dip their toes into the Godfather of Soul’s universe, one could do worse than to start their education with Alex Gibney’s Mr. Dynamite: The Rise of James Brown, on of three films by the director playing at this year’s Sydney Film Festival.
Ivan Čerečina looks at Jean-Pierre Gorin’s unique documentary Poto and Cabengo (1980), the story of a pair of identical twins from San Diego who reportedly invented their own secret language.