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“Possibilia,” a short project that Daniels made in 2014, is an interactive narrative exploration of a couple on the brink of a difficult break-up.
Little Men feels like a heartfelt hug, one that carries all the undertones of a beautiful relationship without being overbearing.
Director Daniel Burman (The Mystery of Happiness, Lost Embrace) serves up a humorous and thoughtful vision in The Tenth Man (El Rey del Once).
Moviemaker Clay Tweel (Finders Keepers) takes an unflinching and intimate look at ALS in his documentary on the life of pro football player Steve Gleason.
In The Childhood of Leader, a historical fiction drama set at the end of World War I, Brady Corbet exhibits the stylistic bravado of a seasoned director.
Creatures from all realms—fantasy, horror, and science fiction—descended into Utah and made their way to the screen at FilmQuest, June 17-25, 2016.
Roger Ross Williams’ Sundance-winning documentary Life, Animated is testament to movies’ power to be so much more than just entertainment.
Lorenzo Vigas’ debut feature, From Afar (Desde allá in Spanish), is a tense psychological drama with tinges of homoeroticism.
In her debut feature, Viktoria, director Maya Vitkova looks her past from communist Bulgaria straight in the eyes.
Anna Rose Holmer’s The Fits challenges the notion that to come of age is to sacrifice individuality in exchange for the safety of homogeneity.
Centered on a pack of men competing to be “the best,” Tsangari’s Chevalier takes a look at how individuals portray their identities in front of their peers.
Robert Cenedella, subject of Art Bastard, creates art based on the stories he sees on the street, adapting personal struggles into a narrative on canvas.
Impotent in a world that protects the powerful, a victim becomes a villain for a noble cause in Rodrio Plá’s A Monster With a Thousand Heads.
Taking his fondness for the bleaker side of the human spectrum into account, Wheatley and J.G. Ballard’s 1975 novel High-Rise feel like a predestined match.
In The Lobster, which won the Jury Prize at the Cannes Film Festival, Lanthimos leaves Greece behind as the physical location anchoring his previous work.
The Minneapolis-St. Paul International Film Festival has become an important artistic platform for both Minnesota-made films and international hits.
John Carney’s Sing Street is an enchanting dramedy about growing up in the ’80s. The film explores the experience of being molded by the bands of the time.
In Neon Bull, the battle to rise above one’s prescribed destiny is what captivates Brazilian director Gabriel Mascaro, whose films brim with raw poetry.
In Louder Than Bombs, Joachim Trier fabricates a family whose communal grieving involves filling the void left by the most important woman in their lives.
Blending excruciating feelings of alienation with the menacing threat of what piercing intrigue can turn into, writer/director Matt Sobel’s “Take […]
Arnaud Desplechin’s latest film, My Golden Days, explores the youth of his characters from My Sex Life…or How I Got Into an Argument, as its prequel.
Through a fusion of black-and-white cinematography and visual effects, Benjamin Dickinson’s Creative Control stands as an ambitious genre statement.
In Anomalisa, a delicately melancholic observation on loneliness and the flawed human condition, acclaimed writer-director Charlie Kaufman and co-director Duke Johnson use stop-motion animation to tell a story of small proportions and big ideas.
László Nemes devises a peculiarly organic film language for his Holocaust-set debut, Son of Saul—in this writer’s opinion, the best film to open stateside this year—and by doing so, truly achieves that profound connection between viewer and protagonist that marks a slice of cinematic truth.
