New York Film Festival — A–Z of films

Haneke goes far beyond pushing emotional buttons into territory where our most visceral fears lurk.

A quietly enjoyable film with a sense of the old-fashioned about it and a few bursts of humour to cut through the air of melancholy and suspicion.

There's some fun to be had among the commotion of the outbreak, but it all seems too stretched to really bite deep as either satire or schlock.

If you're a fan of gialli and horror all'italiana you'll enjoy playing spot the homage. If you're not a lot of the imagery and dialogue will simply go past you.

If the way Alina cries and hugs her friend hello, in between train tracks, does not trigger your empathy, you are possibly already dead.

Self indulgent, nonsensical and soulless scenes are woven together into a sentimental fog that hovers above the surface of a faux world, past and present.

A film about film history may sound dry, but the stories captured here crackle with life and enthusiasm.

Rebollo, reinvents the Road Movie, just as Leos Carax does in Holy Motors.

Self-hatred and lies, stuck on the merry-go-round of never-ending temptations... give Flight its tension.

There is talk of his reaching a "transcendent place of nothingness", but this is not tranquil, this fading - it is distressing, discomfiting.

You can enter through the objects, like an Eames chair or three pairs of Ray Bans, bought online. Or through the religious conflict inherent in a bacon bagel.

And as Moreh probes the men, we, whether we agree with them or not, find ourselves drawn into their moral maze in all of its complexity.

Fanning's sincere face in happiness and disbelief is the essence of the film.

The sort of film that practically defines the festival experience, but that one could not ever imagine watching in any other context.

Mendes more veiled than unveiled and, at times, resembling the Virgin Mary, is wonderful, confused and tender.

Are Bill Murray's fabulous presidential brogues what is worth remembering most, or are some of the statements about gender still valid commentary?

She gives you that little bit too much that you don't want to see and hear. From Ave Maria to Polaroid Cocaine to a Shanghai encore, Ingrid Caven tells us stories as if we were little.

João Rui Guerra da Mata and João Pedro Rodriguez’s film is a seamless and absorbing blend of essay film and hardboiled thriller.

An awe-inspiring experience.

A sublime lesson in emotional manipulation through cinematic traditions.

Akolkar’s documentary lets us glimpse the private couple who became lifelong friends.

What remains true now, as it was then, is the scale and scope of the thing.

The introductory credits are among the most marvellous images seen on screen.

Shot in vivid colour and interspersed with some terrific songs, this is a formulaic story but a hell of a ride.

There is a weight of ideas here and they are sometimes too much for the script to bear.

The film has style, created as much by Max Greene’s atmospheric camerawork as Widmark’s bravura acting.

Pablo Larraín's No is a resounding yes!

Lacks all charm.

The references are messy, the gestures grand.

The Princess Bride is marvellous entertainment for all ages, and endlessly rewatchable.

The story is not over, yet.

Some fans have become, as one admits, literally lost in the maze of the Overlook Hotel.

Most real, and at once divine, are the scenes in nature.

Snow White, the first full-length animated feature, shows a class that Disney has since run out of.

Director Gomes pays homage to the fantasy of colonial history while subverting it at the same time.

Ferrer is wonderfully sleazy as Korvo and makes the perfect foil for Tierney.