For those wondering where director Zambrano's sympathies lie, it's not with the terrorist: Lamberti is a complex character yet his overriding trait is egotism.
Roberto De Paolis' debut is a story of marginalized youth whose unlikely meeting on the periphery of Rome starts a process of self-questioning that leads to both liberation and pain.
The excellent first quarter gives way to a standard-issue though handsome legal drama with several stock characters and a script guided by the presumed requirements of mainstream cinema.
A dense, nightmarish feature taking aim at Russia's befouled soul, in which a nameless woman undergoes a hellish journey through a society stripped of humanity.
Jacques Doillon's "Rodin" is a meticulously reverential, handsomely lit, and very dull biopic about the 19th century's most revolutionary sculptor.
A disappointingly ragtag period piece, clearly plagued by script problems, that's lifeless to the core.
João Pedro Zappa deserves much credit for making Gabriel so vibrant, and Barbosa has done an exceptional job melding his and Caroline Abras' performances with those of the non-professionals.
As Barbet Schroeder well knows, there are times when only the word "evil" properly conveys the insidious nature of intolerance and carnage robed in the trappings of power.
The callousness of (un)civil society, together with police repulsiveness, is a subject needing to be constantly re-mined, yet the chilly mise-en-scène lessens the impact.
The richness of fairy tales and the obscenity of Mafia control are evocatively woven together in this superb follow-up to 2013's Critics' Week prizewinner "Salvo."
A meta-film in which Jeanne Balibar, refreshingly unaffected, is an actress playing French singer Barbara in a film made by an obsessed director.