"Illusion is expensive, but it's worth it" is the lesson offered from the latest film by UCLA film school graduate Krisztina Goda, "Chameleon."
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Gergely Fonyo's "Made in Hungaria" is a musical about 1960s-era Communism and the beginnings of rock 'n' roll behind the Iron Curtain. Despite a not very original storyline what stands out here are top-notch actors who make the best of the material and seem to genuinely give their all during the musical numbers.
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An erotic-thriller about a Japanese assassin who falls in love with her Spanish target, Isabel Coixet's "Map of the Sounds of Tokyo" is "Nikita" reincarnated with Tokyo eyes.
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After making two poetic classics of African cinema, "The Wind" and "Lumiere," director Souleymane Cisse is back with "Min Ye" (a.k.a. "Tell Me Who You Are"), an unexpected portrayal of an adulterous middle-class African marriage.
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Thai director Pen-ek Ratanaruang evokes a trancelike atmosphere in his representation of Nature as an animate, mysterious entity. Less effective is his idea of stripping his plot and characters to their bare essence.
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Seven years after "Divine Intervention," director Elia Suleiman returns with more humorous-sad stories from his native Palestine, couched in the ironic autobiographical language at which he is grandly adept.
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"The Silent Army" is bedeviled by the same problem Edward Zwick faced in "Blood Diamond": How to tell African stories involving brutal conflicts and child soldiers without having white men come to the rescue of poor blacks.
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At the intersection of art and culture and of style and genius, Coco Chanel and Igor Stravinsky met and loved each other for a few madly passionate seasons before going separate ways to become legends of Western society.
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This experimental work is for refined palates only, and even among the cognoscenti there's ample room for discussion. But the film has curiosity value and should pique the interest of festivals.
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It goes without saying that "Enter the Void" is violent, but its obsessive emphasis on sex and drugs -- to the point that most viewers are going to feel utterly bludgeoned by both -- makes it virtually unwatchable, especially at its unofficial "director's cut" length of 160 minutes.
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The very bloated "Face" starts off impenetrable and ends that way as well.
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There's really very little to say about this film beyond that it's absolutely brilliant. First-time Belgian feature-length filmmakers Stephane Aubier and Vincent Patar, prodigiously gifted, have come up with something truly special here.
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