Sundance Film Festival — A–Z of films

Silver exposes is an underlying, deep-seated prejudice rather than some sort of murderous instinct.

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.

The narrative is paced with the urgency of a thriller.

As with the best science fiction, the technology of the future is used to explore the human condition of the present.

There's no shying away from the fact that the New Age, twig-built mumbo-jumbo peddled here is no match from the otherworldly ancient belief systems of Peru that flow through Llosa's earlier works.

Director Sophie Deraspe, probably best-known for 2009 drama Vital Signs, brings a strong sense of the cinematic to what, on paper, looks like a poor candidate for it.

This is very much a warts and all portrait, but in the process it brings us much closer to its subject, feeds a depth of appreciation many fans of those stunt shows will not have felt before.

Neville and Gordon wisely embed the verbal duels into the surroundings.

The film is an interesting, timely, though ultimately dispiriting look at how the twin forces of institutional bigotry and internal discord fragmented one of the key organising forces in black America.

After years of suffering manchildren at the cinema, we are now subjected to the womanchild.

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

One person's armed vigilante is another person's guardian angel and the border between these two ideas is wafer thin and easily crossed as Matthew Heineman's beautifully shot and probing documentary shows.

Poekel keeps things natural, letting Noel's sadness slowly permeate the atmosphere along with the scent of pine needles rather than ringing it out at high volume.

This is a tense and enjoyable genre picture, and one which gets terrific central performances from all involved.

The film is dark. Its message of disconnection has layers of sub plots, barely hinted at yet still damaging

The essence of documentary, well demonstrated, find an interesting subject and tell the story well. This is it, this is the stuff.

There is an unvarnished authenticity to these men and their situation.

The film has charm, due in most parts to Shameik Moore's performance

Unflinching but uplifting, Longinotto's film shows how even one person, if they put their minds to it, can make an enormous difference.

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

Ponsoldt's film is more interested in what lies beneath the skin of the men than the covers of the book.

It is by turns sad and disturbing - with occasional bouts of highly dubious dark humour.

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

The film is a hodge-podge of archive clips and interview material but it just about gels and a host of smaller scale family stories round it out nicely.

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.

Transformation is coming, although as with Sciamma's previous films this is not a simple, one-way manoeuvre, completed in double-quick time

Gerard Barett's low-budget drama is marked out by raw performances and a strong empathy for its characters that help buoy up its downbeat subject matter.

Informative - and frequently worrying - although not particularly cinematic.

Weitz wisely has no time for fluff - these are clever women charting tricky territory and spending 78 minutes in their company is an easy choice to make.

There’s plenty of the pre-requisite tension, and the monsters are designed well and deployed with restraint.

There isn’t anything particularly wrong with the direction, which is solid horror fare, but it’s trying to animate a cadaver of a script.

Even if Dick took away the interviewees and voiceovers from this film, the statistics alone would make for startling reading.

A simple but compelling dynamic... the execution is superb.

There is too much of the ring of the academic argument and, especially for a film so concerned with the spiritual, not quite enough soul.

The sort of film you'd expect to see in the lunchtime slot on True Entertainment, not in cinemas.

This film feels fresh and real even to those of us who have been there.

Morgen creates a vivid, colourful and quite poignant rush through a life that was, at once, explosively creative and deeply troubled.

García's cautiousness clogs up the human drama.

Riley really does listen to Marlon and, by extension, encourages us to.

Both Chin and Ozturk have professional filmmaking experience but even so, what they manage to capture is remarkable given the conditions.

As a road movie it is surprisingly static

The dialogue sparkles all over with wit and joy and perceptiveness.

As cool as a multi-coloured popsicle.

It either, depending on how open you are to it, completely goes off the rails in the final 20 minutes and destroys its credibility, or instead delivers a provocative moral twist

Documentary this may be, but it's very much in horror movie territory, and filmed as such.

Resembles the first 15 minutes of a porn flick

Chabriel, in his first ever screen role, is a revelation.

A fascinating but deeply disturbing film.

It's as if we're being asked, once again, to believe that rock n' roll will really save the world.

For an erotic thriller it's pretty short on both thrills and eroticism.

Bujalksi’s film, ambling on at a languid pace which would offend the five-miles-a-day Trevor, gets some mileage out of poking fun at the spandex set and their self improvement mantras, even if they are an easy target.

If you are willing to drift along Olson's stream of consciousness, there are pleasures along the way, but not all her meanderings make the connections she hopes for.

While Anya Muylaert's engaging drama doesn't shy away from the realities of life as a home help in Brazil, she also concentrates on the upbeat humanity of those involved and suggests that change may be coming with the next generation.

If this is romance, it's dead.

Maclean shows a land where loss of innocence is ever-present.

The character design, already well established by the TV show, is crisp, the stop-motion animation as ever is lovely, and the depth of detail in the sets is great.

Zhao is in no hurry, allowing the sense of life in Pine Ridge to seep in to the bones of the film.

Kidman hasn't turned in a performance like this for some years.

A complex film where the real story unravels in the background.

What unfolds is a comedy of (t)errors with a central character who shifts very quickly between dubious but likeable guy, buffoon and sociopath.

Slaboshpytskiy goes to show, first through Anna and then the actions of Sergey that some transactions can hold a lot more - and worse - than we have bargained for.

Something happens in the courtroom that puts a hammer to the spanner

This film is a shot of dayglo-coloured adrenaline to the vein, a vat of sugar poured into the eyes.

A preposterously gory exercise in nostalgia.

One of the hardest things to find to recommend to people is a good mainstream film, not aimed at children, that involves no violence or untimely death - this is a charming example of that rare breed, may they never become extinct.

Unsettling, probing and smart, they may only be looking at a town of 24 but this film has implications for people across the world.

It is more like a primer on her life than an in-depth study.

Ferociously funny.

Eggers draws fully on the iconography of the period, the muted greys and greens of the landscape captured by cinematographer Jarin Blaschkee broken only by repeated flashes of cardinal red, bringing with it the suggestion of cardinal sin.

There is a sense of the freshness of freedom but this a film that mainly deals in big emotions as though worried about getting down to specifics.