This curatorial eye felt like a particularly precious gift this year
The festival’s curatorial boldness has never felt so necessary.
In the last two years, the festival’s programming has grown riskier and more boundary-crossing.
The 49th edition of the festival was a showcase of more liberal sentiments and artistic styles.
This year’s edition of the festival is a cinematic cornucopia unlike any other.
Death Will Come is a conspicuously de-glamorized tale of violent characters on society’s fringes.
These found-footage films further solidify Jude’s status as one of our most vital artists.
It’s Not Me begins with a modest “I don’t know” as a riposte to a proposed riddle.
These three films bear the scars from a region’s history of violence like a fertile inheritance.
TCMFF continues to valiantly pursue the preservation of Hollywood film history.
For its 27th edition, the festival presented 20 features and six short films over five days.
The festival’s greatest singularity is two-fold: its lack of pretense and judicious curatorial eye.
A highlight of this year’s festival was the focus on the work of Basma Al-Sharif.
What makes IFFR so endearing is an atmosphere that’s joyful and devoid of self-importance.
In its new iteration, Under the Radar, which runs through January 21, hasn’t missed a step.
From 30 Seconds to Mars to Rina Sawayama, we’ve compiled our favorite moments from weekend two of ACL.
Many of the ghosts and whispers of the past were on display at the festival’s 48th edition.