Afterimage is an austere biopic set in postwar Łódź, depicting the final years of Polish painter Władysław Strzemiński.
The War Show will linger as a bloodied testament to the loss and sacrifice faced by those forced into diaspora.
Although Mayhem is far from perfectly executed, the executions throughout the film are near perfect.
Hotel Salvation conveys a philosophical examination of where contemporary India finds itself now and where it sees itself headed in the near future.
PACmen is pitched as a pulling back of the curtain, though it’s unfortunate when all that’s behind it are a couple of crusty mops and a bucket.
Aki Kaurismäki’s latest gets by on the simple pleasures unique to his oeuvre.
Laura Poitras’ documentary following Wikileaks founder Julian Assange suffers from a scattershot focus, unable to coalesce into anything more than an interesting collection of hard-to-get footage.
Eschewing intellectual history for the personal, Claude Lanzmann’s North Korean journey explores the sadness beyond the political facts.
Directors Khushboo Ranka and Vinay Shukla rely almost exclusively on a broad brush to paint the narrative of political figure Arvind Kejriwal.
Though formally demanding, the latest film from Austrian director Michael Haneke feels thematically easy for those familiar with his work.