8 years ago
Festivals (10 posts found)
TIFF 2016 Dispatch: “Personal Shopper,” “Manchester by the Sea,” and “Paterson”
Tina Hassannia submits this dispatch of the first few films she's seen at the 2016 Toronto International Film Festival.
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TIFF 2016 Dispatch: “American Honey,” “Elle,” and “After the Storm”
Kenji Fujishima submits this dispatch of the first films he's seen at the 2016 Toronto International Film Festival.
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SXSW 2016: Fingers on the Pulse
In the wake of SXSW, Marshall Shaffer reflects on the festival's unique place in the cinematic landscape.
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SXSW 2016: Forward to the Past
From SXSW, Marshall Shaffer takes a look at two new films by prominent local directors, in Richard Linklater’s "Everybody Wants Some!!" and Jeff Nichols’ "Midnight Special."
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Off the Trail: Gatherings from True/False
Rob Trench reports from this year's True/False documentary film festival in Missouri.
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Sundance 2016 Dispatch: The Future of the “Sundance Film”
At Sundance 2016, Marshall Shaffer explores the future impact of the once-iconic festival.
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NYFF Review: “Les Cowboys”
When dealing with a controversial issue, a film’s intentions, however earnest they may be, aren’t enough to outweigh a blatantly bothersome bias. In the case of Les Cowboys, the directorial debut from Thomas Bidegain (the co-writer of Jacques Audiard’s A Proph...
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NYFF Review: “Steve Jobs”
Early in Steve Jobs, the late Apple mastermind played by Michael Fassbender defines the purpose of his company: “Our job is to tell the customers what they want.” Underneath the famous “Think Different” catchphrase that accompanied the classic 1984-style Super...
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NYFF Review: “Where to Invade Next”
Just the mention of Michael Moore is enough to send some viewers into spasms of protest. The Oscar-winning documentarian has a history of provoking the right side of the political aisle with films like Fahrenheit 9/11 and Bowling for Columbine. Moore has incur...
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Fantastic Fest Review: “The Club”
When great filmmakers tackle religion, they do not just talk about God – they show God in their visual schema. Witness Scorsese’s tortured characters warping their bodies into the shape of a crucifix, or the camera-eye of Malick constantly looking up in awe at...
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