Ten Years | New York Asian Film Festival
By Phil Guie July 22, 2016
A film anthology that ran afoul of the Chinese government during its theatrical run and, despite strong box office, disappeared abruptly until it found a second life.
A film anthology that ran afoul of the Chinese government during its theatrical run and, despite strong box office, disappeared abruptly until it found a second life.
Family friction plus quirky culture clashes plus road trip nearly equals Little Miss Sunshine.
The city’s premier showcase of the latest and greatest from international film festivals celebrates its 15th anniversary by continuing what it does best: highlighting the richness to be found in Asian cinema.
Urgency. That was the main ingredient propelling many of the best films at this year’s Cannes Film Festival, including the winner of the Palme d’Or, I, Daniel Blake.
An observational, 160-minute-long family drama-cum-screwball comedy took critics by surprise at this year’s Cannes Film Festival.
Though rife with sexual violence and graphic dialogue, the last film to premiere at the Cannes Film Festival was also the most elegantly made in the competition: Paul Verhoeven’s blunt, button-pushing, stinging comedy.
This year, the two best films made by first-time feature filmmakers at Cannes were animated. Both movies are told with precision but without rigidity. In both cases, you won’t know where the free-flowing story is headed.
In this roundup: the powerful, timely National Bird; Memories of a Penitent Heart, an intimate family portrait and a mystery; Sam Neill as a crusty old codger; and the charming, low-key Don’t Think Twice.
All of the films seen in this round of Tribeca screenings are worthwhile, and the best is, frankly, excellent, including the gorgeous The Ride and the funny and poignant The Charro of Toluquilla