If you're going to title your film "The Odyssey," you need to be pretty certain it's got enough narrative heft and thrust to justify the Homeric allusion.
A lithe little psychological puzzler in which lives are stolen, swapped and quite possibly ruined in the space of one ostensibly tranquil weekend.
A film that's in love with love, in love with cinema, and concerned that neither is built to last.
Though it deftly eschews moral judgment of its own, Belgian helmer Peter Monsaert's "Flemish Heaven" is likely to provoke all manner of debate among its viewers.
It may only represent the film's Spanish distribution route, but there's something entirely apt-feeling about the familiar Warner Bros. badge at the front of Alberto Rodriguez's "Smoke and Mirrors."
That hoary old question of whether life imitates art or art imitates life is refreshingly irrelevant in the case of certain creative beings, for whom art is life and vice versa.
Director Emmanuelle Bercot begins "150 Milligrams" with a rare stab at lyricism in what is otherwise a bluntly literal, plain-as-day procedural drama.
"Cool story, bro." It's the most incidental of visual details, glimpsed at the edge of one of "Austerlitz's" many exactingly composed frames.
The explosion of Pablo Larrain's Jackie Kennedy biopic into the race reminds that Venice remains a strong force in Oscar season
If you go down to the woods today, well, you're not in for the biggest of surprises.
This suitably rough-edged, raw-nerved kids-are-not-all-right drama fixates on technology as one of many communication barriers between contemporary adolescents and their parents.