Tribeca Festival — A–Z of films

This isn't a film for those interested in the nitty gritty of how work like this is assembled. Rather, its focus is on the philosophical and experiential issues associated with the rise of the machines.

Filled with awkwardness and tension, the film acts as a spotlight for all the actors.

Though likely a little too whimsical for some, Boys Go To Jupiter seems destined to develop a cult following.

A deep understanding of the period and cultural context gives it a weight of authenticity.

Darkest Miriam makes use of absurdist humour to explore the sense of unreality that…bereavement can create.

There’s a fantastically unhinged performance in here which it would be a spoiler to say too much about. Everyone is good at what they do.

Martin Gschlacht’s glorious and smart cinematography adds clarity here while sprinkling doubt over there.

While the women’s relationship with one another may be strong as houses, Azimi opens a window to the precarity of the industry.

While there’s no doubt the directors have a sympathetic slant towards the community, this is a film that is interested in exploring all the angles.

Handsomely mounted and costumed with enough sparks and pace to quicken the interest and heighten the senses.

The characters speak naturally about the things in their life, and the film trusts us to piece together the essential information.

If you don’t have a clear sense of who she is when you go in, you may come out feeling none the wiser.

It might be too much to expect a film to tell a bigger story, but that hope is borne in part because it doesn't really manage to tell a smaller one.

Hinton’s documentary visually points to all the complicated, often triangular entanglements.

As the directors patiently capture the lives of Workinesh, Motto and Beti, a shared theme of familial hardship emerges.

Ott’s interest is not in creating an accurate depiction of exactly what happened in the run-up to the Oklahoma City bombing, but rather in exploring the thought processes behind it.

It's a nonsense, but when the storytelling is this good it doesn't matter.

[Hart] doesn’t turn up the volume, but uses tone and repetition so effectively that the film becomes a microcosm of the real experience.

The spectacular visual effects are less a product of slick new technology than of pure imagination, and they really are unforgettable.

A highly mannered approach, a staccato script and deliberate emotional distance mean that the drama never really comes alive, but the whole thing looks and sounds divine.

The camera embraces each of their stories with a lot of heart and imaginative curiosity.

Although its characters are middle aged, their childish games in the first half signal a kind of coming of age; and yet unlike most films on that theme, which end when childhood is left behind, it keeps us there to explore what it means to be an adult.