New York Film Festival — A–Z of films

Wells shows how interactions that were solid within their own moment become more ambiguous as time has gone by and the adult understanding of Sophie has grown.

Simón takes a loose approach to the narrative, letting the small dramas of family play out alongside larger ones, giving as much value to the transient pleasures of fresh peach juice and cooked snails as the tensions between siblings.

Sen could easily just have made an observational documentary about the brothers' day-to-day work or simply focused on the kites themselves but he stretches its wings much further than that.

The intimacies are staggering.

The film is full of beautifully observed and detailed conversations as well as silences that speak volumes.

The balance of subjectivity and object status becomes important in a story whose protagonists are always potentially dangerous to one another.

For all the film's particularities of time and place, everything here feels essential and archetypal, as painful rites of passage are played out in the forms of mystery.

Vicky Krieps...is in excellent form and up to the task of presenting to us the icon in all her idiosyncrasies.

Built on strong imagery rather than substantive narrative.

Park does it the hard way, building up a complex psychological and intellectual relationship in which sexual desire feels like an emergent characteristic rather than a starting point.

It has a Wicker Man feel but without the flamboyant histrionics

The beast of burden’s travails seem to be a thinly veiled criticism of Polish society which erupts in one sequence into mindless violence.

Human Flowers Of Flesh is a film of spaces merging, physically in image, in thought, and of the senses.

There’s a depth and groundedness here which speaks to lived experience.

Weaver...hasn’t had a role this rich for years, and is magnificent throughout.

At one point it seems “Panahi” could easily step from one country to the other, but as his film shows, leaving is not always an easy option.

Seydoux is superb as she runs the emotional gamut with subtlety and empathy, demonstrating an extraordinary survival spirit in complicated circumstances.

The languid mood contrasts with the most dangerous topics.

It's an ending that has haunted me for 30 years...

Quietly devastating.

There are astounding moments of audio visual density that make Scarlet so wonderful a film - especially because we are bestowed with a generosity in spirit and utter lack of prejudice.

It lacks the energy and precision vital to any journalistic investigation, and especially to one taking place under this kind of pressure.

The romantic, the familial and the geopolitical are inseparable here.

There are none of the big set piece speeches traditionally associated with winning awards. Instead we are presented with something which feels much more raw and natural.

Phantom chimes at night produce an atmosphere that could tumble into horror movie territory, but the real damage is done during the day.

Almost every part of this slowburn road to not quite the middle of nowhere could be read either as a clue or a clever maguffin.

A roller-coaster of the effects of absolute power corrupting absolutely.

Baumbach shoots his disaster scenes, evacuations, and poisonous cloud rife with contradictions. The purple sky of doom is beautiful and strangely soothing.

Polley has crammed in a lot of good ideas, but they cannot all usefully share the same space.