This essential festival celebrated the richness and diversity to be found in current Japanese filmmaking and offered an especially eclectic and challenging selection.

There is a quiet eloquence to director Yuval Delshad’s debut film about the burgeoning conflict between a father and his teenage son.

Has time been kind to waning publicity powerhouse Edina Monsoon and age-defying fashion editor Patsy Stone, after more than 20 years of imbibing every variety of chemical substance under the sun and fervently following every fashion trend?

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.

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.

Followed by a smitten camera, Léa Seydoux’s face combines a Mary Cassatt apple-cheeked purity with the sullen roughness of a young Kate Moss in the latest take on the French classic novel by Octave Mirbeau.

The prime reason to see this artsy film is the beautiful black-and-white, weird, and mystical imagery of cinematographer Shai Goldman.

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.