Jenni Olson’s essay film is an inventive and complex mediation on love, history and art, told through gorgeous 16mm landscape cinematography married with subtly revealing narration.
El Canto del Colibrí empowers its subjects, both the fathers and their children, with a simple, conventional approach to documentary filmmaking. Nevertheless, it magnifies voices often not heard in the LGBTIQA+ community.
Pete Docter’s Inside Out offers a mature and nuanced take on human emotion that, combined with high stakes and sweeping adventure, will leave children and adults alike sniffling and elated.
Miguel Gomes’ three-part Arabian Nights is a constantly evolving, spontaneous film that finds the filmmaker at his most dizzyingly unrestrained and mammoth in scope.
Hou Hsiao-Hsien’s THE ASSASSIN is incredible liminal wuxia told in ellipses: by steam and smoke
Neil Armfield’s adaptation of Tommy Conigrave’s vitally important memoir is a beautifully composed and performed feature.
THE LOOK OF SILENCE is a companion piece that stands alone as one of the most important documentaries of the last decade, tracing a collage of pain and fear with a stark intimacy throughout.
Hong Sang-soo’s latest film is a deeply satisfying puzzle without a solution, and one of his funniest and richest films to date.
Contrary to how it might appear, W.J.A Kluijfhout’s SERGIO HERMAN: FUCKING PERFECT is a surprisingly visually assured character study that is far more than just a foodie film.
Chaitanya Tamhane’s debut feature film is a stunningly honest look at the Indian legal system, both enriching and bleakly funny.