Tribeca Festival — A–Z of films

The thriller element of all is slickly written and the tension well generated, but sometimes it struggles for air amid the film’s more soapy subplots.

Wright’s performance is among the very best of the year to date.

There are a lot of interesting ideas swirling around in this film.

It doesn’t quite hit the mark, but that’s not to say that it isn’t a pleasant way to while away an hour and a half.

Sofie Gråbøl is superb as the troubled Chana.

The sort of film that any aspiring director of schlocky shock should be proud of having as their debut.

Like the best of these sorts of essay films, Huntt is intimate without being unnecessarily introspective.

It quickly becomes apparent that this is more than just the story of the dolls. It is the story of the modern age.

Stern takes her time letting us discover what really concerns her characters, their hard shells and vulnerable cores.

The actors make grieving palpable, as sure and solid as the colours caught by Ivan Gierasinchuk.

The reason all this earnestness works is because Raiff really cares about all his characters, taking time to consider each in their own right.

A wonderfully life-affirming film with a superb performance by Trewhitt.

Dreaming Walls is less a documentary than an attempt at a sense memory.

Where the film shines is in the incidental details, the small observations and asides which contribute to setting the tone.

Amy and Chloe’s odyssey, filmed by Daniel Götz, is an adventure tale, which includes a visit to the cutest llamas in Peru.

Lorne Balfe’s magnificent, melodic score shapes our sense of time passing, just as shots of the open desert, of the emptiness around the palace, add to our sense that all that history is present and immediate.

It’s a sweet little film at heart, more Peshwari naan than spicy samosa, and if you’re looking to while away an hour and a bit without making too many demands on your brain, you could do a lot worse.

Through the medium of drag – and with plenty of wit and glamour to enjoy along the way – Danger highlights the unreasonable expectations placed on all feminine people.

Inevitably, there is a slight air of the stage about this and an emotional gear change at the midway point doesn't quite feel fully earned but the actors so fully inhabit these roles that they carry you with them.

The end result could do with less tangent and more of the gent himself.

A timely, moving, frequently beautiful multi-layered portrait.

Wonderfully uncomfortable.

Often tender, charming and moving

Walker-Silverman is in no hurry to reach that encounter and he makes slipping into the rhythms of Faye's day a thing of gentle joy.

Essentially an old fashioned tale in which the pursuit of dreams needs to be balanced by learning to appreciate what one has.

Besides the always outstanding Trine Dyrholm, Sofie Juul Blinkenberg is the revelation of this film because her scenes dip the screen into a clear virescent pool of elemental longing for unspoiled credence.

If there’s a single word to describe the latest film from Signe Baumane, it’s vibrancy.

Next Exit shines because of its finely crafted script and the performances of its two leads, who work wonderfully together.

Finds a strong propulsive narrative with an emotional core.

It’s almost a shame they’ve bothered with the subtitles at all, as much of the comedy speaks for itself, which makes the subtitles feel rather “pushed” to lewd extremes in a bid to extract further laughs in places.

These are easy targets although there’s a lot of enjoyment to be hand in seeing them hit so accurately.

Something is most certainly gained from the presence of Richard himself, who has a vulnerability about him that you might not expect from a man who refused to be cowed by a largely middle-class, white establishment that stood in the way of his girls’ rise to fame.

This is quite simply the best performance of the year, blowing everything else out of the water.

There’s an inherent sadness to this, not least because this film is taking a much more sobering sweep than more frequently made films about jail time, which tend to end with exoneration or freedom, which Reyes notes from the start is not within this documentary’s gift.

With contributions from all the major participants in its extraordinary story, Joshua Seftel’s short documentary is a powerful piece of work.

While Subject works as a catch-up with the stars of some of the most captivating docs of the past 10 to 20 years, it also offers plenty of food for thought.

Unashamedly arty yet still packs an emotional punch.

The film is informationally dense; it must have been exhausting to put together, and watching it all at once highlights just what a roller-coaster ride life with YouTube has been.

A delicate balance is achieved here between telling the girls’ story, exploring the role which Marike’s religion and culture play in her life, and critiquing aspects of the way she is expected to live.