A nicely played story of a man who discovers the father he never met had another family, told with warmth and a depth that wasn't so apparent from the beginning.
Thomas Kruithof's debut boasts a skillfully crafted script that keeps audiences tensely guessing the outcome until the delicious "did that just happen?" denouement.
Pietra Brettkelly evocatively layers damaged archival images, potently interspersing them with footage chronicling the rebirth of Afghan Films.
Fun and engrossing, with enough tension and sex thrown in to satisfy most viewers, this handsomely packaged thriller is ripe for multi-national remakes.
Uninspired direction and an embarrassing recourse to national stereotypes in a bid for cheap laughs mars the few charms of Karen Di Porto's semi-autobiographical debut.
An impressive amount of footage is used to illustrate this cinematic evocation of Norman Lewis' memoir, yet the documentary has little sense of the rhythm needed to capture the book's power.
Essentially a more minimalist remake of Roi Werner's 2011 "2 Night," this Italian version derives mixed results from the age-old male-female divide.
Trying to identify thematic patterns in the submissions for the foreign-language Oscars is harder than detecting "notes of loam, peach and toast" in a bottle of Chardonnay – you tend to wonder…
Director Streker strives to offer a balanced view of a traditional family in Belgium forcing their daughter into an arranged marriage, yet in the end he hits far too many expected buttons.
An exciting, sharply made thriller that lays no claim to inventing the genre, yet Grande's script is fun, his characters intriguing, and his build-up expertly paced.
Gordian Maugg is more interested in Dan Brown style mythologizing than in truth, and his b&w pseudo bio pic of Fritz Lang is a fictionalized mess.