The Boy and the Heron | TIFF 2023
Without a doubt, the 82-year-old Hayao Miyazaki pulls out all stops visually in perhaps his most beautiful movie.
Without a doubt, the 82-year-old Hayao Miyazaki pulls out all stops visually in perhaps his most beautiful movie.
The best way to enjoy this four-letter-word-filled frolic is probably to be inebriated. (This reviewer could have used a drink while watching it.)
The latest addition to the growing number of Brazilian films that offer pungent perspectives on the country’s rising Evangelical movement.
The profile of French director Jean Grémillon has received a boost lately with the 4K digital restorations of two of his films, now screening for the first time in the U.S.
At its best, Oppenheimer is downright surreal, not only in the flashes of images that may not be readily deciphered, but also how its director merges time lines together through incisive editing.
Director Maria Fredriksson got more than she bargained for in this onscreen family squabble, and audiences will too.
At its best, the documentary describes the homophobia of mid-20th century America by those who lived through it, while also tracing the highs and lows of the movie star’s career.
The film’s deceptively light touch builds to a climax that quenches the thirst for an unabashedly romantic drama that viewers may not have realized they had.
Director Cristian Mungiu lays bare the tensions, pettiness, and fears in the mountainous Transylvanian rust belt, and takes the temperature of the populace—it has a high fever.