The cinematographer of Sundance favorite Jumbo talks about transforming a tilt-a-whirl into Noémie Merlant’s living, breathing lover.
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The director of the queer folk-dance drama talks about homophobia in Georgia and the long, protest-filled road to getting the movie released.
From live-action to animated to documentaries, we flip through the Academy Awards’ shorts offerings to see what we think should win.
Maïmouna Doucouré has a lot on her mind, but digs uncomfortably into oversexualization.
Portrait of a Lady on Fire’s Noémie Merlant gets sweet on a theme park ride in this charming, if conventionally quirky dramedy.
Benjamin Ree documents the budding, murky friendship between a painter and the man who stole her painting.
Makoto Shinkai’s followup to Your Name is another charming coming-of-age tale with a supernatural twist.
Helen Mirren and Ian McKellen elevate an otherwise warmed-over thriller as two people wrapped up in a late-life romance gone terribly wrong.
Seahorse, The First Rainbow Coalition, and debut feature The Vast of Night highlight our last day of CIFF capsule reviews.
Our penultimate CIFF dispatch breaks down Rian Johnson’s star-studded caper Knives Out, the Georgian queer drama And Then We Danced…, and more.
The Painted Bird, Just 6.5, Francois Ozon’s By the Grace of God, and the documentary The Hypnotist dominate today’s CIFF coverage.
Sunday’s CIFF dispatch includes takes on Argentine drama The Sleepwalkers, live-stream doc Present.Perfect., Chilean doc Cordillera of Dreams, and more.
Bong Joon-ho’s latest is a twisty, turny, crackerjack class thriller.
Friday’s CIFF Dispatch talks up Harlem doc The Apollo, dark fairy tale Adoration, Guatemalan drama Our Mothers, and Minhal Baig’s coming-of-age story Hala.
Pedro Costa’s minimalist, based on real events drama is short on plot and long on the relentless weight of living.
Romania’s Corneliu Pourumbiou bogs down excellent production design in droopy, exposition-heavy noir trappings.
Takashi Miike’s gazillionth film is a riotous yakuza caper that traffics in the filmmaker’s impeccable balance of extremes.
Pedro Almodóvar graces us with a shaggy but rewarding portrait of a middle-aged director wrestling with his demons, with an arresting turn by Banderas.