Martin DiCicco’s debut feature documentary follows the day-to-day lives of track workers in Armenia and Azerbaijan.
At the Melbourne International Film Festival, YOURSELF AND YOURS is a sharply observed romantic comedy that’s unique among director Hong Sang-soo’s work, writes Conor Bateman.
Josh and Benny Safdie’s energetic thriller plays out like a neon-drenched episode of COPS, propelled by Daniel Lopatin’s score and Robert Pattinson’s manic performance.
The latest film from Nana Ekvtimishvili and Simon Groß is a subtly powerful and patient character study that relishes in sensory pleasures.
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.
Warwick Thornton’s irreverent and passionate Sydney Film Festival opener tackles a broad range of pressing contemporary discussions on race, history and identity.
Alexandre O. Philippe’s cinephilic documentary neuters interesting avenues of discussion around Hitchcock and Psycho, instead preferring to traffic in the superficial.
Kenneth Lonergan’s third feature film revisits his pet themes of grief, family and community, all conveyed with the sharply observed realism which defines his writing.
M. Night Shyamalan’s latest is outlandish in premise and limp in execution.
Wading through Burt Reynolds’ personal archive makes THE BANDIT much more than a simple behind-the-scenes doc.