Tribeca Festival — A–Z of films

Both words of the title loom large together and apart and are sprinkled into the smallest verbal and non-verbal exchanges.

Although chiefly a concert film, Frias also includes more experimental segments in which Mexico’s relationship with death is considered.

Sin, heresy and sexual ecstasy intertwine in a story which lacks theological depth but probably approximates fairly well the understanding of most peasants and low status clergy at the time.

The performances of double Oscar-nominated Blethyn and Riseborough provide hypnotic accounts of their characters as two vulnerable souls on the edge.

There’s a particularity about this place that is etched into the screen.

While bringing home the injustice of life for Toha, Goher treads a careful line so as not to turn the adults into cartoonish 'bad guys', which makes the situation all the more upsetting.

Her experience is, of course, only that of an individual, and cannot represent what happened to all of the other hostages, but it still has significance.

The film is superbly crafted.

Ambitious in its attempts to stitch Jack Kerouac’s biography through a patchwork exploration of both cultural and social modern America as related to his seminal book On The Road.

Along with Vladimir Gojun’s progressively rhythmic editing and Julij Zornik’s subjective sound design, the filmmaker takes us right into the protagonist’s, and therefore any and every teenager’s head.

Cinemtographer Noah Collier deserves a lot of credit for keeping himself largely invisible so that people reveal themselves, while working with editor Pablo Proenza, Herbert smoothly brings together these facets so that a bigger picture begins to be formed.

If either the sense of danger associated with Isaac’s position was greater or the well of comedy ran deeper Brooks could have been on to something.

There is no grand adventure, no melodramatic pathos, no broad comedy, just life as an eternal struggle for survival and for the chance of thriving, but also with a sense of warmth.

Watching the two young men, you may well find your sympathies shifting – and you may wonder which of them, if either, is actually en route to becoming a killer.

I hugely enjoyed Prey, was amused by Badlands, but I spent almost all of Killer Of Killers grinning so widely I nearly grew mandibles.

Tina Romero is in her element.

For something so lovely, it is hard-edged, and it sparkles with visual wit.

At each point when one might think that the key to this fascinating subject has been found, another door is opened, leading to yet more unexplored angles.

A polished and beguiling piece of cinema that invites us to forge our own associations between different epochs and beliefs.

When it comes to plain facts, it delivers well.

The intriguing concept plays out from initial parental disbelief and denial to unexpected changes in behaviour and attitudes.