New York Film Festival — A–Z of films

There's a constant sense that war might return, a sense of urgency about cramming as much knowledge and wisdom as possible into the children before it's too late.

Higashide will no doubt attract most attention, impressive in his ability to inhabit two very different characters, yet it's Karata who is the power at the heart of the film.

For those who know and love Van Gogh's work, the effect is hypnotic, a translation of his vision into a new medium.

Scruggs still suffers from the problem that afflicts too many other anthologies - not all the tales come up to the same level in telling the essentially Coen-esque truth over and over.

Green's richly detailed documentary is a portrait of a remarkable woman, a love letter to early cinema and a fascinating detective story all in one.

An original and highly ambitious premise that maintains its grip your attention and imagination.

Lee works the narrative with an ambivalence that borders on the inscrutable

Becky Parsons and John M Tran's cinematography brings out every detail of the crowded rooms before us and puts us to close to the grain of the wood that we can almost smell it.

Beautifully shot and articulated.

The film carries a message about the importance of tolerance, love and a healthy dose of silliness in the face of the darker elements of modern life.

Garrel knows his film is a confection rather than a banquet, so keeps things moving along at a serious clip

The dialogue is irreverent and sharp like a raven's claw.

Newcomer Tardiolo is splendid in the lead.

A powerful condemnation of endemic and structural racism, a sweet love story and, at a technical level, a beautifully produced film, If Beale Street Could Talk has much to recommend it.

Elusively impenetrable stuff that only loosely can be described as cinema.

Introduzione all’Oscuro aims more for emotional beats and resonances than factual musings.

Patrick Orth's cinematography gives this a beguiling warmth but it's really Löw's performance that makes it work.

Often you see the truth in her face, not in her words.

The film is an intelligent, technically proficient and complex critique of this period, weaving metaphors for the German body politic and psyche of the time.

In Assayas's smashingly sad comedy of manners, shoes drop left and right.

Billingham's consideration calls for empathy rather than condemnation.

By the end, you pray for death - his or your own, whichever would end the boredom faster.

We are at a point where the wonders of earth and an awe in regards to nature cannot be shown often enough.

Like Bergman's work, it might initially seem dry, but it's as rich in wit as it is in insight.

Some may be dissuaded by the painstaking pace yet the tone manages to be both humorous and heart-rending at the same time.

The ‘narrative’ is simply a series of characters and events on which to hang material for various readings, and it is these readings that provide enjoyment.

Honoré handles the strands with considerable agility and admirable lack of cliché or sentimentality employing camerawork that is clean and uncluttered.

The documentary lifts the various stones around the movie's creation and lets us have a good look at the monsters hiding underneath Welles's barely watchable, misogynistic hate parade.

Time and place hold both no and every meaning in Christian Petzold's latest film.

While content is important, it is context that is king in a documentary, and this film could do with a lot more of it to orient viewers, especially those who don't have a full working knowledge of the American South.

Landscape and music and everyday objects are used to splendid effect.