One of world cinema’s most upwardly bound filmmakers, Ursula Meier speaks on the art of portraying downward mobility, families in crisis.
Vikram Gandhi’s mocku-documentary takes on our all-too-willing suspension of disbelief.
The ‘thumbs up, thumbs down’ trademark became the gauge that millions looked to.
On embracing the beautiful ambiguity of adulthood with one of the most stunningly subtle finales in recent American cinema.
‘Well,’ says Bujalski, ‘I think I accidentally made something of the moment, the zeitgeist, which I never did before and I don’t think I ever will again.’
Festival director Bryan Wendorf speaks on native formats, archival classics and his embrace of digital.
Playing a series of flipped-out villains turned Hopper into an eccentric character actor, obscuring the magnitude of his influence.
I USED TO BE DARKER filmmaker Matt Porterfield says, ‘Yes, I think the local has greater potential to be universal.’
Peter Watkins’ film is rather like entering a four-dimensional gallery of digital notecards, befuddling then exhausting and finally immensely rewarding.
Midway through the 63rd Berlin International Film Festival, Keyframe’s critics talk personal favorites with one of Germany’s top film reviewers.