Venice Film Festival — A–Z of films

Loose and responsive camerawork from cinematographer Douwe Hennink makes his camera feel as though it is part of the family.

Lorentzen is not looking to question the process but to admire it and, acting as his own cinematographer, he elegantly achieves that goal.

For all the strangeness of the premise there’s not a lot of meat on the bones of this story.

This boys’ club doesn’t offer anything new in the way of insight.

Orimogunje captures the way that generating pain can be seen as a way to ameliorate your own suffering

Unexpectedly playful given the weight of the subject

Hossain keeps the mood claustrophobic.

While there are undeniably parts built for the big screen spectacle, which are juxtaposed with an emotional weight, the film's rudimentary form is the enemy within.

Marazzi is so focused on the frame of her life that the picture of Taro itself feels lost in the shuffle.

Ultimately, it is the universality of a diasporic child judging an older parent’s decisions through the distorting lens of distance, age and solitude that will resonate with many.

Danny Boyle brings his customary energy to James Graham’s adaptation of his own stage play, which flies along quicker than paper through a printing press.

The docufictional construction can become meditative to the point of meandering, a tug-of-war between autobiography and fiction that sometimes weighs down the story.

Simplicity is the name of the game, and he makes a virtue of it

In endeavouring to provide real insights about the man, Gibney has to dig through a weight of illusion and affectation

The 40-something director is sensible enough not to sensationalise

Up until the end laced with cheap pseudo-biblical references, this horror-drama serves as a fun and thrilling ride.

In his modern world of apartment blocks and estranged family members, even comfort is cold.

Malkovich and Rockwell are magnetic.