Tribeca Festival — A–Z of films

The emotions of the characters can barely find any wiggle room.

Jude and Lazarescu also show how the structure of society has a habit of making you conform to it, whatever your intentions - a barbed idea intended to stick in the minds of those who live in today's Europe where the Roma still face wide-spread prejudice

There are many ways of interpreting the events depicted here. The background of desperation is palpable.

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.

Naqvi and Trivedi achieve a fine balancing act, giving no ground either to the fundamentalists or to the Islamophobes.

In the current climate, the film suggests, taking up a gun seems to be much easier than wielding words against them.

Brody invests his character with much more depth than is there on the page.

The film hinges on a powerful central performance by Karen Allen.

Richard Gere is exceptional.

Bridgend is a superb piece of work.

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.

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

At turns inspiring and troubling, Democrats is ultimately a fascinating study of the dangerous grassroots work that changing a harsh political system requires.

It's likely to be most appealing to people just too young to be officially allowed to see it.

This documentary captures what may be the last of Antonio Barrera's bullfighting days at a time when the sport itself seems about to fade into history.

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.

Perlmutt really knows his stuff and effortlessly evokes the iconic movie imagery that evolved to show these automobiles at their best.

A thriller, a deep hard stare into the nature of escape, a comedy of metaphors and an alluringly photographed glimpse into the abyss.

Bent copper. Check. A liking for the charlie. Check. Shady gangsters operating out of shady strip clubs. Check.

Loach gives voice with eloquence to the disenfranchised and celebrates the spirit of working people.

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

Life Of Brian manages to go beyond mere satire and silliness and tell a story that has power of its own.

The pleasantly surprising performance of Schwarzenegger grounds the film with an emotional heft.

Excruciating first date dialogue

The splintered pain of grief interrupted marks out the directorial debut of Reed Morano.

Director Celia Rowlson-Hall, a dancer and choreographer, is able to make visible through movement what harms the soul.

In terms of comedy, belly laughs and unfortunate little accidents making a mess of the sofa, the Pythons has never been better.

Overall, this is a silly romp through some of the best legends medieval Britain has to offer, intercut with some fabulously surreal animation.

Serves as a timely reminder of how keeping the memory of the Holocaust alive, and preventing another one from happening again, will require constant vigilance.

With such a fascinating subject, it's hard for director Jeanie Finlay to go wrong.

Resembles the first 15 minutes of a porn flick

Clips from Man Ray's L'étoile de mer with Kiki de Montparnasse and the famous Salvador Dali dream sequence from Alfred Hitchcock's Spellbound illuminate her passion.

His film may be a little cluttered and unwieldy but its personal slant has an intensity.

If this is romance, it's dead.

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

The film would be more robust if it lingered longer, fleshing out the facts of the oppression of music in the country.

We are thrown headlong into a remake of Aliens, only with a mansion instead of a space colony and caterers instead of marines. The surprise is that it works.

Bispuri is interested in how escape from one form of repression seamlessly flows into another.

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

Nanau tells it like it is and the film's emotional moments - of which there are many - are small but powerful and unforced.

O'Brien is bold in his approach and unafraid of risk-taking, choices that offer a clear-sighted window into his world for those of us lucky enough to have full health and a rallying call to others experiencing this condition from within.

It is the casting of Jónsson that is the film's master stroke. Known as a comedian in Iceland, he brings a great sense of underplayed comic timing to Fúsi, resulting in a big impact from small gestures.

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.