Tribeca Festival — A–Z of films

Dennis Quaid plays Henry Whipple with so much tension in his face that you might expect a little alien to pop out of his temple at any given moment.

A celebration of peaceful resistance and of those who stand behind many of the world's figureheads, helping them to achieve their aims.

Like the advent calendar Rene gives to Michi to count down the days to Christmas, the film holds a surprising number of sweet treats, despite its austere veneer.

A fairytale for old romantics everywhere, who believe that the weapons of friendship and commitment are as vital in the fight for a relationship, as love.

Zaman is not looking to rush to judgement of his characters but to explore what makes them tick and give a feel for how traditions get passed down the generations.

Definitely one of this year’s most accomplished thrillers.

The story-telling is low key and muted, as befits the characters, but the unremitting sense of melancholia weighs heavily on the film and the viewer.

Affecting interview content builds into a sweet picture of two young people who briefly seemed to have the world at their feet.

Neil Jordan skilfully examines the nature of time and the theme that he surveys like no other filmmaker - what it means to physically be in two places at once.

With such a fascinating subject, it's hard for a documentary to go wrong.

The story told is generally more interesting than the telling of it.

De Van appears to think that throwing every horror cliche in the book at something will make for atmosphere.

Karasawa's film is at its strongest when Stritch is allowed to open up her life to us in all its intimate detail.

Raaphorst and scriptwriter Chris W Mitchell seem so proud of the look that they completely forget that a film also needs to have a decent plot and characters lying beneath the costumes.

A light, fluffy concoction but one so playful and unpretentious that it's easy to like.

Wrathall's considered, thorough and thoroughly entertaining film gives not just a sense of the man but also the importance to the world of iconoclasts like him.

Haute Cuisine is as earth shattering as a lip-smacking mushroom - you will want to have a good dinner afterwards.

A poetic and tense debut that explores not so much the coming of age as the coming of mortality.

A movie that lets you be the judge of inappropriate behaviors and risks worth taking.

This is an impressionistic portrait, as multi-faceted and delicate as the flies which we see being created at points through the film.

What James has tried to do is film a Hollywood Blockbuster on an independent British budget, and it shows.

The documentary ultimately chronicles a provocateur in his quest against indifference and the conventions of an obscene normality.

A well-shot and occasionally sweaty run around the same old block.

The film - whose bleached palette drips with melancholy - is, ironically given all those pent up emotions Uchida wants to outwardly express, best in its quieter moments.

Sean Dunne's debut documentary, while impressively intimate, is a long way from thorough.

The end result is a kind of funny/kind of sad character study that asks questions about our relationships with others and our environment.

Barreto's film is a stylish feast for the eyes, registering the nuances of the 50s turning into the 60s.

This may be a jet-ski ride over Pryor's life rather than a deep-sea dive but it offers a firm celebration that's likely to encourage those who have watched it to seek out more material from the man himself - and that can never be a bad thing.

The spirit of childhood skips and giggles through The Rocket even though Kim Mordaunt's debut fiction feature touches on deeply disturbing humanitarian issues.

Through heartfelt and very conventional storytelling Nair simplifies, pleads, and misses the chances to shift the very current problematics into a new light.

Director Jonathan Gurfinkel's film rides a deeply uncomfortable societal line between misogynistic conservatism and liberation through feminism.

Few portrayals of autism spectrum disorders in film have ever had the authenticity of this.

If you persevere - and at the screening I attended many did not - the film finds its voice at about the same moment as we hear someone speak for the first time.

Where it finds strength is in its exploration of Ali as a man and as a symbol.

With impressively sourced archive footage, much of it in colour, the film presents a fair overview of its subject and finds time for laughs even in stories with tragic endings.

This is a showcase for ideas about new ways to approach the genre. In that regard, it is both entertaining and inventive.

A cracking film by a born filmmaker and I can’t wait to see what all involved in it do next.

Subtle and powerful, Abrahmson shows how easy it is for things to turn sour even in the most privileged and upstanding environments.

The absurdly marvellous timing Haden Church has with Labrèche when they discuss glass eyes or the future, makes Whitewash also wonderfully, desperately funny.