Michael says: “I saw a strange preview for this film a few weeks ago, and I can’t decide whether or not it worked or not. I guess we have to see that it did work because I did go to
Bruce says: “THE BAND’S VISIT is a gentle little film. A small Egyptian police band is invited to Israel to perform. The band arrives a day early and follows signs to a bus stop where they board a bus to
Jason says: “I saw and reviewed ASHES OF TIME three and a half years ago, when it played as part of a series of director Wong Kar-wai’s films at the Brattle Theatre. I was not particularly impressed at the time,
Bruce says: “Occasionally I recognize that I am out of step with a filmmaker who clearly loves his or her characters while I sit there finding them deplorable or pathetic. THE AQUARIUM is a strange film. Watching it, I was
Jason says: “LA ANTENA opens with hands superimposed on a typewriter keyboard while a piano plays, and introduces us to its City Without a Voice by displaying it as the pages of a pop-up book. That’s a fanciful start to
Jay says: “At some point, Brett Harvey and Adam Scorgie should probably have changed the name of their documentary on the underground marijuana industry; the Union of the title isn’t mentioned until at least halfway through. THE UNION: THE BUSINESS
Jay says: “The decaying city is a staple of anime and science fiction (though TEKKON KINKREET doesn’t really fit that genre). It appears in many conventional urban genres, too, but they seldom have the ability to really show the audience
Michael says: “This buried treasure nominee is a visual feast, part Romeo & Juliet, part cowboy cum gangster flick, part wacky farce. Dum and Rampoey are have been in love since they first met as children, but different social classes
Michael says: “SUNFLOWER is Chinese director Zhang Yang’s autobiographical look at the relationship between a father and son across three turbulent decades in China. Xiangyang is born in 1967 during the Cultural Revolution. As an infant, his father, Gengnian, is
Chris says: “It’s easy for most of us to forget what it feels like to be a child, especially if you don’t work with children or aren’t a parent. Bradley Beesley and Sarah Price’s straightforward but affecting documentary unerringly captures