Perhaps the best thing that can be said about The Hobbit: The Battle of the Five Armies is that it’s finally over.
Irma Vep stars actress Maggie Cheung who finds herself at the center of a disastrous remake of Louis Feuillade’s silent French classic Les Vampires.
Heart of the City Piano Program obtained a Musicounts TD Community Grant worth $10,000, which will go to purchasing instruments for students to use at home.
The problem isn’t that indie, foreign and arthouse films aren’t screened at all, it’s that they don’t screen for very long.
Although she has been up for other awards before she said that as a director, getting nominated for a Prism Prize is a different experience.
The short, titled Nephew, follows a young man as he decides whether or not to reconnect with an estranged uncle, having seen him at a bus stop for the first time in many years.
Shot in minimalist style, One Floor Below keeps the camera almost exclusively trained on Sandu, whose comfortable existence becomes ruptured by the fallout of his decision
His latest film, Right Now, Wrong Then, which won the top prize — the Golden Leopard — at the Locarno Film Festival earlier this year, is, if not one of his most audacious films, is surely one of his most effective.
“Dreams! Visions! Madness!” declares a character part way through The Forbidden Room, Guy Maddin’s latest post-modern ode to silent film (co-directed with Evan Johnson), which premiered at the Sundance Film Festival early this year.
The result of this ambitious project is understandably uneven, but taken as a whole, it is one of the most socially significant and politically charged films of the year.
At its core, The Assassin is concerned with struggle for transcendence, a theme encapsulated by a stunning durational shot of fog slowly rolling up a mountain, obscuring everything but the clifftop.
Less generic than its logline makes it sound, Louder Than Bombs — the English-language debut of Norwegian filmmaker Joachim Trier — attempts to inject interest into a rather banal story of familial grief.
Some films are political by choice, others by necessity. Jafar Panahi’s Taxi unequivocally falls into the latter.
Set in Weerasethakul’s home town of Khon Kaen, the film follows Jenjira (Jenjira Pongpas) as she volunteers at a school-turned-temporary clinic for soldiers suffering from a strange form of sleeping sickness.