New York Film Festival — A–Z of films

Burke is interested in people not politics, keeping the focus on the sudden outbreaks of inhumanity and humanity in the madness, expertly crafting his thriller from the swirling fog of war.

This sympathetic and thoughtful portrayal of the many faces of marriage avoids clichés about the good old days as well as the bad ones.

There's some great black comedy here, at times spectacularly cruel.

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

Like much of Burroughs' writing, the film has a shaggy dog tale quality, rambling along in a way which does not at first seem nearly as informative as it actually is, then bursting into moments of brilliant radicalism.

It may be staggeringly beautiful and inventive, but it’s posturing nonsense all the same.

This is the first essential film about the post-Snowden era, made by one of the key figures who helped usher that era into being.

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.

Hansen-Løve's momentary excursions into animation, split screen, and possibly re-writing of world history are the most effective parts.

Bennett Miller has secured his place at the forefront of directors who excel at character studies.

Rosamund Pike is a revelation as the woman who can be everything you want her to be - and, especially, what you definitely don't want her to be.

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

Even after many viewings it is difficult to fully grasp the film's historical significance, storytelling innovations and stylistic brilliance.

This is the tail end of the good times, Doc and his cohort seem as though they are fading out.

What emerges as so extraordinary about the way Iris presents herself, and what makes her so beloved by many people in the fashion industry, is the total freedom of reference she enjoys in anyone.

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.

An entertaining and surprisingly dark period drama.

Stunningly shot by cinematographer Timo Salminen, who illuminated landscapes as if they were Eckersberg paintings, the film is framed in 4:3 aspect ratio, creating the sense that there's always something just out of sight.

Its significance to those with a serious interest in animation would be difficult to overstate.

If the characters are focused on how and if, for us the question why lingers in the air.

Dumont - for all the outlandishness of the film in other aspects - prioritises a messy realism over straightforward likeability in relation to his protagonists.

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

Oppenheimer boils down the atrocity to the experience of a single family, leaving us to extrapolate back up.

Moore gives a frank and funny portrayal of female status at a certain age in the Dream Factory.

What is truly amazing about the film is the way cinematographer Dick Pope evokes Turner’s colour palette.

What comes through is a sense of the vast number of tasks the museum must carry out to cover its remit as a public service.

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

It only lasts an economical 70 minutes but seems considerably longer

Anchoring the audience with a perennial fence-sitter allows more room for the inevitable impact of the characters' stories, without the weight of an absolute ideological argument.

In Gaspard Ulliel, Bonello has found an actor who not only looks the part but eases under Saint Laurent's skin with sensitivity.

Stray Dog is really a very ordinary guy, but there's one thing that's extraordinary about him... he truly believes in America.

What is most astonishing about Sunshine Superman is how genuinely happy everybody looks.

The passage of time - and a beautiful 4k restoration - have been kind to this reimagining of Jacques Offenbach's opera, with its deliberately operatic gestures and colours and stylised production design feeling sharply avant garde even today.

The way Sissako exposes the double standard makes the Jihadists' behavior no less threatening, on the contrary.

Gere, despite his image both off and on screen, gives a flawless performance.

What makes it stand out from its many followers is its deep affection for its subject.

Marion Cotillard tenderly lets us in on every nuance of dread, every vital decision.

Wisdom is quiet and the future a mystery

The film takes on a masterful intesity as mental health as well as music begins to be at stake.