New York Film Festival — A–Z of films

Mixes observations on capitalism, society and storytelling.

The production and costume design by Huang Wen-ying combine historical accuracy with a revelation of detailed splendour.

What seems dry and dusty on the page is far from it on the screen

With old-school romance pumping through its veins, fans of the genre will find this a pleasing indulgence.

A beautifully crafted piece.

Takes a bawdy idea and turns it into something far more complex.

"At the heart of the kingdom there is nothing," it says, but all the fascinating splendour that exists around that gap!

Frank's energy, together with Israel's rapid fire editing, keep the film appealing, though they may leave some viewers feeling worn out.

Almereyda jumps straight into the experiment which, over half a century later, is as fascinating and timely and important as ever.

What is quite wonderful in all this flowing and "fade, fade, fade," fading is that the characters and their stories belong to no one specifically. They belong to a cinematic spirit world and maybe nobody even wanted them.

There's a wonderful flexibility to Fukatsu's performance as a woman who bears endless slights as she struggles to retain her decorum.

Lanthimos satirises our obsession with relationships and modern day electronic dating rituals although the results are not nearly as funny and knowing as the director clearly thinks.

The Martian’s real strength lies in its good-natured attitude.

Stephane Brizé is a master of films that appear to say very little but actually speak volumes.

Cheadle attempts to give us the feel of the man rather than the real essence.

A bold study of what it means to be Chinese in the modern age.

Desplechin, like no other, startles with his enigmatic perceptions on the gender divide.

Nobody sneaks up on you, light-footed, perplexing, hilarious, quite the way Nanni Moretti does with his scenes.

Comic invention rides shotgun on a screenplay that runs wild.

The film persuades viewers to zero in on the details by using its second scenario to invite constant subconscious questioning of what has changed.

One of the greatest works of art in cinematic history.

This is a claustrophobic, breathing-down-your-neck look at man's inhumanity to man - as though the Dardennes brothers had taken a one-way ticket to hell.

Fassbender does his best to not make the man easily likable at first.

Everything is wired for excitement.

Moore is hopeful for the US, too, as he strolls along the remnants of the Berlin Wall, built to last and tumbled nevertheless.