A frank and at times discomforting, in-depth portrait of young man who has cerebral palsy.

Two Ukrainian films are reminders that the current situation in Eastern Europe isn’t unprecedented at all, but history sadly repeating itself.

The film nimbly becomes a thriller without shedding its established rhythm. Before you know it, the tone has turned uncomfortably ominous. 

Andrea Riseborough, who is practically a regular at SXSW, has arguably never been better.

Director Alison Otto exposes the double life of an unassuming middle-aged couple responsible for the theft of a Willem de Kooning painting, now estimated to be worth $160 million.

The annual event offers a spotlight on women directors and coming-of-age stories, a festival staple.

For moviegoers searching for a thoughtful and suspenseful work outside of the North American and Western European bubble, this is a must-see.

At its best, the film magnifies the nuts and bolts of filmmaking and how it perpetuates “positions of power,” as it’s described here.

A highly satisfying blend of a modern-day woman’s picture and a tidy, B-movie thriller.