Diego Semerene

The through line of the 'Kontinental '25' is rooted in an ancestral grudge that's easily rekindled, or projected onto new proxies.

Throughout 'Dreams,' Michel Franco pledges allegiance to the idea that only the material constitutes the fabric of dreams.

The festival’s curatorial boldness has never felt so necessary.

It’s Not Me begins with a modest “I don’t know” as a riposte to a proposed riddle.

These three films bear the scars from a region’s history of violence like a fertile inheritance.

The film blooms in moments where, instead of literally addressing Coco's gender trouble, we’re simply allowed to inhabit it.

'Banel & Adama' is ultimately most memorable when it forgets to push the story forward and wallows in the allegorical registers of its images.

The festival’s greatest singularity is two-fold: its lack of pretense and judicious curatorial eye.

Kevin Macdonald’s 'High & Low: John Galliano' is a public relations exercise masquerading as a substantial fashion profile.

Writer-director Matthias Glasner's 'Dying' immerses us in the depths of the human experience without varnish or sentimentalism.