Berlin International Film Festival — A–Z of films

The main horror element is a deep psychological manipulation that stays with you for days afterwards.

The film's attempt at softcore titillation fails; it's like a tacky home movie, masquerading as social comment.

There's an impressive range of mouthwatering dishes on display, constantly being adapted and upgraded.

The Zellner brothers...enter into a fascinating structural dialogue with the history of the genre.

Beautifully lit, Daughter Of Mine conjures up a tremendous sense of place, all salt breezes, scrubland and golden sand.

It's hard to be tough on a film as warm-hearted as this one is in spirit - like Callahan, it's trying hard even when it fails.

Imhoof tries to open the debate out to consider the unsavoury economics of the situation, with the personal touchstone ensuring that his film retains a character of its own that marks it out from others on the same subject.

The story expands beyond the conventions of a Boys Own adventure

Lazarov lets his tale unfold gradually like a gentle thaw

A mixed bag, as while Everett the actor masterfully evokes the mournful mix of decadence and decay of the last years of Wilde, Everett the filmmaker is, like so many before him, too much in love with the brilliant old rogue for his own good.

This film displays a deftness of touch.

While the script wraps up its ambiguities a little too neatly in the end, the themes it wrestles with are sensitively handled for the most part and resonate long after the credits have rolled.

For the most part this is a lyrical and lightly handled odd couple road movie that achieves a subtle resonance, although it is almost scuppered by a sudden major tonal shift in the film's final act.

Go in as a fan of Anderson's work and you will not be disappointed. Go in as a fan of film and you will likely be delighted.

Anderson creates sealed, self-supporting worlds, crammed with excruciating detail.

Szumowska isn't aiming for subtly here and runs the risks of some of the townsfolk's attitudes slipping into broad brush character but the pathos at the film's heart for Jacek off-sets the problem.

The director has an aptitude for taking a dash of the familiar and giving it an individual twist.

Pasolini's unfinished life remains painfully unresolved, as it should be.

There is satire here but this the director takes a jokes first, social comment second approach.

A true original.

Anybody who has ever run a business will relate.

While it’s interesting to hear his approach and the steps taken from writing the lyrics to matching the words with the beat, there is still a sense that Songwriter does nothing more than just self-promote.

Time and place hold both no and every meaning in Christian Petzold's latest film.

That the biggest surprise of the film is not a plot point at all but the appearance of someone famous in a cameo role, speaks volumes.