D’A Festival Internacional de Cine D'Autor de Barcelona — A–Z of films

There is little within the film that is obviously futuristic, but you do not need special effects to represent the future - a depressing dystopia is already being lived.

Although less than 11 minutes long, the film packs in a host of strange and eerie imagery that lingers long in the mind.

François Gédigier's inspired editing trusts that mismatched sounds and images form an emotional whole.

An authentic, no-holds barred roller coaster ride, which gives fresh hope for a new wave of British cinema.

Beyoncé is one of several out-of-place symbols within the film and although her juxtaposition with Hitler is undoubtedly amusing, she retains her original 'meaning' (empowerment).

Ovashvili tells the story with spare dialogue and absorbing attention to detail.

Llansó's manages to combine the poetic sci-fi of Andrei Tarkovsky with the surrealism and dark humour of his fellow countrymen such as Luis Buñuel, Luis García Berlanga, or more recently Sergio Caballero.

The Duke Of Burgundy is delicate, constructed, poised; a piece of naturalistic beauty with all the authentic artificiality of wings pinioned while drying by small pieces of paper, a needle through the heart that wrenches.

The music is an intensely emotional force within the film, and effectively acts as an interpretive guide for the audience in relation to the images of poetic abstraction.

Both Gamboa and Barberini acquit themselves admirably in what is almost a two-hander.

Seizes the attention from the brutal opening – and refuses to let go for an instant.

What is quite wonderful in all this flowing and "fade, fade, fade," fading is that the characters and their stories belong to no one specifically. They belong to a cinematic spirit world and maybe nobody even wanted them.

Despite the hill of the title, Sang-soo's latest falls flat.

The contrast between the characters and the actors sparky chemistry means the laughs have a head start, but there is also a considerable amount of psychological terrain being covered.

Subaru gives a brilliant performance - including some excellent vocal takes - as an amnesiac whose only link to the world is his singing.

Ethical acts are met with punishment and moments of kindness are just fleeting enough to make the next torque of tension feel all the more severe.

Cinematographer David Cailley, the director's brother, offers stark beauty and wicked humor.

There is little substance beneath this atmospheric top layer.

Logan's writing fails to match Pacino's restraint, while Green's direction seems - like his central character - to be filled with a longing for more, yet being held back from going there.

As with the exaggerated use of sound, this 'borrowing' from other films is excessive and becomes increasingly grating despite the short running time.

The semi-improvised film finds real heart in its characters.

Ageing, Paralluelo observes - for the elderly as everyone else - goes on, even when we fear it might not.

Obra is as layered as the past it seeks to uncover.

It only lasts an economical 70 minutes but seems considerably longer

A psychologically astute and darkly funny look at the deep bonds of female friendship and the damage that can be wrought by those closest to you.

A film that seeks to challenge and alienate its audience from the get-go, knowing full well that it won't win all of them back.

Araki never digs deep enough, wasting the opportunity to expose her resentments.