Our New Zealand International Film Festival correspondents select their personal highlights for 2014.
Last words on the New Zealand International Film Festival for 2014.
In praise of two compromised Orson Welles films, still vital and almost joyful in their imposed messiness.
Reflections on five films at the New Zealand International Film Festival.
Closing notes on evil, activism, resistance, and the films that deserve a second chance at the New Zealand International Film Festival.
At the New Zealand International Film Festival: Africa in the spotlight, plus Alice Rohrwacher’s surprise Grand Prix winner.
Between the films of Alex van Warmerdam, Denis Villeneuve, Alex Backhouse, and Gerard Johnstone at this year’s New Zealand International Film Festival, tone is everything.
Notes on the queen of silent comedy and her role in King Vidor’s hilarious Hollywood satire.
At the New Zealand International Film Festival: two imposing Cannes winners explore the struggle between family, state and religion.
At the New Zealand International Film Festival, revenge takes on many forms.
The Dardennes’ latest is a small-scale underdog story of epic humanity.
At the New Zealand International Film Festival: double images, cinema as a frontier in Under the Skin and Manakamana, and respecting Hard to Be a God.
Exploring the politics of climate change and why New Zealand government has yet to act accordingly.
At the New Zealand International Film Festival: two brilliant Swedish takes on human relations.
Edgar Reitz’s powerful chronicle of 19th Century German history privileges the small narratives of ordinary folk.
Filmmakers Dan Geller and Dayna Goldfine on the murder mystery at the heart of their documentary The Galápagos Affair: Satan Came to Eden.
David Robert Mitchell’s new feature creeps up on us in all the right ways.
The weight of charity and power relations in Nuri Bilge Ceylan’s superb Palme d’Or winner.
At the New Zealand International Film Festival: from Iceland to Hollywood, from the warm-hearted to the satirically grotesque.
The parallel spaces of Frederick Wiseman’s National Gallery documentary and Emil McAvoy’s first exhibition of paintings.