Beanpole | NYFF 2019
By Wilda Williams October 8, 2019
Kantemir Balagov’s extraordinary second film opens in postwar Leningrad, where survivors are still reeling from the devastation.
Kantemir Balagov’s extraordinary second film opens in postwar Leningrad, where survivors are still reeling from the devastation.
An arresting and alarming documentary scrutinizes racism on the football field and throughout Australian culture, as experienced by one of the country’s star players.
If Portugal becomes overrun with tourists, blame can go to director Ira Sachs’s new drama.
Ken Loach returns to TIFF with a film that is, in many ways, as strong and less predictable than I, Daniel Blake, which won the Palme D’Or, and Toronto-based Semi Chellas adapts author Susan Choi’s fictionalized take of Patty Hearst on the lam.
The festival can boast of its own discovery, the world premiere of director Diana Peralta’s debut film, a family drama of regret and remembrance.
An intriguing film that introduces viewers to a cutting-edge new science without ever losing sight of the human aspect.
A one-stop destination for those who haven’t been to Park City or Austin this year.
Three very different films come to a stop with open endings in this annual festival of recent Italian film, including a richly photographed cavalcade of moral rot and a striking and atmospheric gem.
Effective and affecting and with an unflagging pace, The Gasoline Thieves is likely to satisfy—and scar—many of its viewers.