Festival Coverage

by InRO Staff Features Festival Coverage

New York Film Festival 2017 – Dispatch 5

October 20, 2017
Did You Wonder

Our fifth and final dispatch from this year’s New York Film Festival (here’s one, two, three, and four) includes a couple of films about various forms of appreciation (or lack thereof) for the arts — Ruben Östlund’s Palme d’Or-winning art world comedy The Square and Todd Haynes’s YA adaptation Wonderstruck — as well as Greta Gerwig’s sharp and funny coming-of-age film Lady Bird. There are also three features here from outside of NYFF’s main slate: Sara Driver’s Boom for Real: The Late Teenage Years of Jean-Michel Basquiat, Travis Wilkinson’s Did You Wonder Who Fired the Gun? (both…

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by InRO Staff Features Festival Coverage

New York Film Festival 2017 – Dispatch 4

October 14, 2017
Before We Vanish

Our fourth dispatch from this year’s New York Film Festival (here’s one, two, and three) includes the Chinese-American filmmaker Chloé Zhao’s docudrama The Rider, about South Dakotan rodeo culture; Kiyoshi Kurosawa’s Invasion of the Body Snatchers/Starman hybrid Before We Vanish; and Ben Russell’s Good Luck, a relatively normal (for him), 2.5 documentary about Surinamese gold panners.…

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by InRO Staff Features Festival Coverage

New York Film Festival 2017 – Dispatch 3

October 11, 2017
Zama

In our third dispatch from this year’s New York Film Festival (the first is here, second here): the “director’s cut” version of Arnaud Desplechin’s sprawling career summation, Ismael’s Ghosts; Argentinian filmmaker Lucretia Martel makes her long-awaited return with 18th century colonialist tale Zama; and Noah Baumbach’s latest dramedy, The Meyerowitz Stories (New and Selected).…

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by InRO Staff Features Festival Coverage

New York Film Festival 2017 – Dispatch 2

October 3, 2017
Lover for a Day

In our second dispatch from this year’s New York Film Festival (the first is here), we take a look at the veteran Polish filmmaker Agnieszka Holland’s “quietly radical” Spoor; the contemporary political implications of “Berlin School” director Valeska Grisebech’s neo-western, Western; two black-and-white films about infidelity, Hong Sang-soo’s The Day After and Phillipe Garrel’s Lover for a Day; and the NYFF’s Opening Night selection, Richard Linklater’s Iraq War-era dramedy, Last Flag Flying.…

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by InRO Staff Features Festival Coverage

New York Film Festival 2017 – Dispatch 1

September 29, 2017
On the Beach

Most seem to agree at this point that the Cannes Film Festival’s competition line-up was not good this year. While the New York Film Festival’s main slate includes more than a few of the same selections, the films that didn’t make the cut are especially noteworthy: Michael Haneke’s cynical, typically mean-spirited career rehash Happy End; Sergei Loznitsa’s miserablist slog through Russian bureaucracy, A Gentle Creature; Michel Hazanavicius’s insulting Jean-Luc Godard biopic Redoubtable; and Fatih Akin’s flat-out offensive jihadist commentary-cum-revenge flick, In the Fade.…

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by InRO Staff Features Festival Coverage

Toronto International Film Festival 2017 – Dispatch 3

September 22, 2017
Redoubtable

For our third and final dispatch from the 2017 Toronto International Film Festival (here’s number one, here’s number two), we take a look at the film that caused(?) bomb threats at its Cannes premiere this year: Michel Hazanavicius’s nose-thumbing Jean-Luc Godard “biopic.” This dispatch also includes a couple of Canadian films (this being TIFF and all); a prize-winning debut from the Locarno Film Festival; and one selection from the New York Film Festival’s main slate. (Our full coverage of that fest will begin next week.)…

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by InRO Staff Features Festival Coverage

Toronto International Film Festival 2017 – Dispatch 2

September 20, 2017
Faces Places

Our second dispatch from the 2017 Toronto International Film Festival (you can find the first here; the third and final one will be up on Friday) includes a new collaborative film from a French New Wave legend; a domestic drama that’s much closer to a horror film; a “near three-hour Portuguese drama about labor in a capitalist society” (that’s also kind of a musical); a documentary about “the failed social and criminal policies of a thoroughly unwinnable war against narcotraffic”; a “cinematic…

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by InRO Staff Features Festival Coverage

Toronto International Film Festival 2017 – Dispatch 1

September 15, 2017
jeanette

The fall film festival season is already in full swing, but the Toronto International Film Festival stands out due to its emphasis on commercialism, and its popularity with the general public. In fact, with each successive year (we’ve been attending since the mid-2000s), TIFF seems to increase its focus on celebrity and accessibility, and at the expense of its former, more exploratory programming (as is evidenced this year by TIFF dropping its standout Vanguard program as well as the diverse City to City program). The sheer…

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by InRO Staff Features Festival Coverage

Venice International Film Festival 2017

September 11, 2017
BPM

We have a lot planned for the fall film festival season—including multiple dispatches from the Toronto International Film Festival and the New York Film Festival. But first, a modest precursor spotlighting five noteworthy titles that screened during the season’s initial Big Film Fest. Our sampling of the 2017 Venice International Film Festival (which wrapped yesterday) includes the latest from documentary godhead Frederick Wiseman; Brooklyn-based indie filmmaker Nathan Silver; the Sensory Ethnography Lab duo Lucien Castaing-Taylor and Véréna Paravel; a debut film from Italian composer Giorgio Ferrero; and the winner of…

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by InRO Staff Features Festival Coverage

Japan Cuts 2017

July 25, 2017
In This Corner of the World

Japan Cuts—the largest screening event for new Japanese films in North America—just wrapped its 11th annual edition this week. Our one and only dispatch from the fest this year includes new films from the auteurs Sion Sono (ANTIPORNO) and Kiyoshi Kuroawa (Daguerrotype); respected but lesser known directors like Nobuhiro Yamashita (Over the Fence) and Yûya Ishii (My Dad and Mr. Ito); and plenty of interesting work from the worlds of anime (Sunao Katabuchi’s In This Corner of the World), documentary (Kyoko Miyake’s Tokyo Idols), and the…

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by InRO Staff Features Festival Coverage

New York Asian Film Festival 2017 – Dispatch 3

July 19, 2017
The Mole Song

The 16th annual New York Asian Film Festival recently ended its two-week run. We’ve already published two dispatches from the fest—for our third and final one, we have a few quick-takes on some exciting new Japanese films, including another entry in Nikkatsu’s Roman Porno reboot (Isao Yukisada’s Aroused by Gymnopedies), a project which we wrote about in our first dispatch from the fest; the latest film from the very prolific Takashi Miike (The Mole Song: Hong Kong Capriccio); and a deceptively grim psychological horror effort from divisive cult auteur Sabu (Happiness).…

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by InRO Staff Features Festival Coverage

New York Asian Film Festival 2017 – Dispatch 2

July 11, 2017
Mad-World

The 16th annual New York Asian Film Festival (June 30th – July 16th) is now nearing the end of its two-week run. Our first dispatch included films from Taiwan, Thailand, Japan, Hong Kong, China, and North and South Korea. Dispatch 2 skews more extensively Chinese, including two films that were actually already released in theaters in the U.S. (Han Han’s Duckweed and Derek Tsang’s Soul Mate) and several first-time filmmakers (Wong Chun with Mad World, Derek Hui with This Is Not What I Expected, and Liu Lin with Someone to…

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