NewFest — A–Z of films

Hedison’s lens cannot show us everything. The film requires viewers to be as open as possible, to really listen and reflect.

It is the things taken for granted, as much as the things that stand out, which shape the tale.

Amid all the deprivation Arnold, as is her style, uncovers elements that lift the action out of the ordinary and into the realms of fantasy and magical realism.

Mackay succeeds where [others] have failed partly because there is a deep vein of sincerity beneath the playful surface of her work.

It’s tribute to the collaborative feel of this film that the documentary continually takes its lead from what Harris is saying rather than pushing him this way and that.

The relationship between fiction and memory, artifice and life undergoes subtle shifts over the course of di Pace’s tale.

Audiard has assembled a remarkable team of actors

Not everything here is successful, but the delicately handled character material pays dividends, and the real life chemistry between the two stars carries across well to their characters.

This is a powerful example of the phenomenon because it has affected so many different individuals, lending itself to a deeper analysis than is often possible.

It has the sweetness – and cartoonish violence – of a wholesome Sixties family film, albeit with a European attitude to nudity.

There is a sense of living in the moment but for the future, a deep connection with nature and a willingness to face whatever happens together.

An assured feature debut that’s confident enough to explore the sometimes complex dynamics at work while celebrating the community at its heart.

Takes a team approach to the material, using a group of documentary participants as a collective.

If you don’t have a clear sense of who she is when you go in, you may come out feeling none the wiser.

Visually it is astonishing, not only because of its effects and techno trickery, but cinematically the Wachowskis are so audacious.

Gund’s poetic approach enables this documentary to go where others could not, to capture the existential effects on people of colour of day to day life in a white supremacist culture.

Waters' targets are tame and easy to hit.

Mirza may sometimes over-indulge in sentiment, but there’s a warmth to the film that makes it easy to like, and she handles its more chaotic scenes with flair.

It’s quickly apparent that entering prison means becoming part of the collective body that is the prisoner population, with the choreographed movements that accompany the songs reinforcing the sense of synchronicity.

Matt Damon's performance is deliciously low-key.

What directors Jos Bitelli and Ames Pennington deliver is, in its own way, close to the bone, but it’s also joyously silly.

The film works as well as it does because of the central pairing of Goussens and De Saeger, whose shared glances and stray touches work on an emotional level.