Locarno Film Festival — A–Z of films

Through an intimate story of a close-knit community, Mascaro takes on wider themes of global warming in a subtle way.

There is much irony on the theme of generational gulfs, internet obsessions and the nature of creativity and culture. Unfortunately none of it rings true.

The narrative, based on a novel by co-screenwriter Sayed Kashua, veers off course only in the final scenes and an implausible resolution.

We see events from Alice's perspective, meaning that, unusually, she is positioned more as the desiring subject than the desired object within the narrative.

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

Marinated in tradition.

The Iron Ministry moves beyond the observational to the experiential, which is to say that sound and image come together to put us among the passengers rather than simply watching them from a distance.

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.

The moments of distinctly sub-Woody Allenesque humour make you dream of what might have been.

This beautiful and intelligent film is generally regarded as Visconti’s masterpiece.

Besson proves he can still concoct a roller coaster ride that harnesses special effects to his creativity in a way that proves stimulating, arresting – and great fun.

The sense of period and the deprivations of the time are authentically evoked without ramping up the emotional charge.

It only lasts an economical 70 minutes but seems considerably longer

This may seem like a “local” problem in an affluent town in a privileged country but it is one that has a universal implications.

Although the performances are uniformly pitch-perfect Julie Depardieu (centre) shines out as Hélène.

Seigner is wonderfully playful and her bold risk taking shows how much she trusts Polanski.