Search results

This autumn, Italian maestro Federico Fellini steals the show at Ciné Palace, MIAT’s retro film theatre room of the MIAT. For three nights, his fantasies, clowns and grotesque characters take over the screen.

The line between seen and unseen threats is a prominent theme in Pieter Van Hees’s 'Waste Land'. What begins with a straight-shooting yet violently impulsive detective’s routine murder investigation quickly jumps down a rabbit hole into dark, trippy cultural mysticism.

To start a film with a dead body is an audacious choice, typically reserved for pulpy murder mysteries or stories about, well, death. Une Nouvelle Amie, the latest effort from François Ozon, purports to be the latter while remaining something squarely its own through the French filmmaker’s hallmark playful dissection.

“Where there is force, there is power,” are the supposedly wise words the orthodox priest mentions halfway through 'Leviathan', the artful work of director Andrey Zvyagintsev.

Nothing in this world comes for free. Even love and sex come at a heavy personal and financial cost. David Lambert’s film 'Je Suis à Toi' explores this notion of what humans pay and receive through the story of three people living in a Belgian village.

What makes a life function and move forward? The quote is a question that is visually posed in Jauja, an existential parable that uses the outlines of a Western to treat us to a profusion of iconic shots, toned in deeply saturated colors to resemble vintage photographs, or painted stills from a 19th century novel.

The only thing slicker than the ice that coats the ground in Diao Yi’nan’s ‘Black Coal’ is the heavy aestheticism that has dominated the neo-noir genre of late. Ablaze with colored lights in nearly every frame, Diao’s northern Chinese detective puzzler holds on to the stylish tendencies of American counterparts like Drive, but grounds them in a world that feels ultimately more livable.

'Reality' is like a graphic by M.C. Escher: a film that'll actively approach your viewing experience and its conventions. It might leave the viewer puzzling though, as every attempt to make sense of the story is countered with ever more complex layers of metafiction and internal references. Several layers of reality are presented without a clear coherency in space and time, leading the unsuspecting viewer into elusive paradox. The film's form ties ends together in an impossible way and thereby hints to the artificial and dream-like nature of cinema.

Educators are tasked with a great responsibility: inspiring a thirst for knowledge and a passion for art and science in each generation’s youth. Nadav Lapid’s new film ‘The Kindergarten Teacher’ takes this mission to a new extreme. The story itself is simple. The teacher Nira (Sarit Larry) discovers that one of her students Yoav (Avi Shnaidman) – a quiet, stoic child – will recite his own poems whose brilliance goes above and beyond her own abilities as a writer. In turn, she deems it her mission to nurture his ability at the risk of his and her wellbeing.

Franco Lolli's debut feature is a contemporary exercise in Neorealism that concerns itself with the misfortunes of a slightly disheveled pair. Ten-year-old Erik seems nothing short of a hoodlum in the making. His father Gabriel is a lethargic layabout who means well but cannot get his finances straight.