This year’s standout movie, Pedro Costa’s Vitalina Varela, seemed to set the tone for the rest of the festival, where low-budget but innovative and politically charged films found their place to shine, writes Kieron Corless.
What to watch at this year’s LFF? Kieron Corless salutes Eugène Green’s modern Nativity with a monstrous Mathieu Amalric, and four triumphantly imaginative explorations of history from Chile, Austria, Thailand and the US.
Our January issue looks back at the year in cinema with the help of over one hundred international critics, curators and academics. As a preview, here’s our voters’ top ten, plus in-house selections and highlights.
Two of Britain and Spain’s most distinctive go-it-alone filmmakers compare notes on the magical power of narrative, the variable spirituality of non-professional actors and the elusive subtleties of their art.