Terrence Malick lends himself well to hyperbole. Few other filmmakers make the act of writing about movies feel like such a fool’s errand; no other is as hard to write about in a measured way. In one of the few interviews he’s given, the director says at one point, “When people express what is most important to them, it often comes out in clichés. That doesn’t make them laughable; it’s something tender about them — as though in struggling to reach what’s most personal about them they could only come up with what’s most public.” This may be the most …

In Dogtooth, an authoritarian father’s carefully constructed sham world falls apart after one of his sheltered daughters watches Rocky IV and Jaws. In Electrick Children (above), a 15-year-old Mormon girl (played by “25 New Face” Julia Garner) gets pregnant after listening to a rock ‘n’ roll song on an unmarked blue cassette tape. The narrative similarities essentially end there but, given their equally unorthodox takes on coming of age in cloistered environments, the two are oddly complementary. Split between rural Utah and fabulous Las Vegas, Electrick Children‘s visual world is entirely at odds with what its doe-eyed protagonist is used to on her big-sky homestead: neon lights, dingy …

In diagnosing a cultural affliction without so much as mentioning a possible cure or even treatment, Brandon Cronenberg’s Antiviral coldly suggests that it’ll only continue to spread. The outlandish-but-believable premise – involving a high-end clinic that harvests and sells celebrities’ infections to their obsessed fans – brings to mind both Children of Men and, of all things, Idiocracy for how depressingly realistic its vision of the near future ends up being. We want to think that something like this could never happen, but there’s more than a little evidence to the contrary. The fact that nearly every element of the …

Between A Royal Affair, The Hunt, Eat Sleep Die, and now A Hijacking, it might be wise to start thinking of 2012 as something of a banner year for Scandinavian film—Denmark in particular. (Let’s call Klown the exception that proves the rule and leave it at that.) An impressively restrained thriller about a cargo ship commandeered by Somali pirates, Tobias Lindholm’s second feature has the kind of ripped-from-headlines premise one would expect Hollywood to have capitalized on by now. In an early sign of his rather un-Hollywood approach, however, the frequent Thomas Vinterberg collaborator shows us extremely little of the …

What to say of a film festival at which the most highly anticipated — and, as it turns out, best — entry is an 83-minute-long documentary about fishermen with no real dialogue or narration that was shot on a dozen GoPro cameras, many of them tethered to a commercial fishing boat? A number of things come to mind, all of them complimentary, but what first bears mention is how well matched the 65th Festival del Film Locarno and Leviathan were for one another. Had it premiered at Cannes or Toronto, Véréna Paravel and Lucien Castaing-Taylor’s film would likely have been …

In Everardo González’s Drought, the residents of a barely-there area in northern Mexico called Cuates de Australia (a strange names whose origins even they aren’t sure of) search for water and travel about during the annual drought. The toll it takes on the land, people, and animals is sometimes deadly. A sort of documentary answer to Spring, Summer, Fall, Winter…and Spring, the film won the nonfiction prize at this year’s L.A. Film Festival and will play at the IFC Center in New York and Laemmle’s NoHo 7 starting this Friday as part of DocuWeeks. Filmmaker spoke to González about the project’s origins, participants, and …

The Los Angeles Film Festival is something of an oddity, not least because of its relative obscurity: for a 11-day-long cinematic event a stone’s throw away from the heart of the American film industry, it hardly registers on the local radar. As a reasonably cinema-savvy Angeleno, I don’t personally know anyone who gets more excited for it than they do for AFI Fest – my usual screening buddies either skipped LAFF entirely or only showed up for a handful of films this time around – though perhaps the comparison isn’t entirely valid. Where this is a “traditional” fest, with programming …

Yorgos Lanthimos attained “one to watch” status as soon as his disturbing, divisive, and hilariously funny Dogtooth premiered at the 2009 Cannes Film Festival. That film — which went on to win the Prix Un Certain Regard and score an Oscar nomination for Best Foreign Language Film — has something of a companion piece in Alps, which opens this Friday at Cinema Village in New York City. Concerning a group of grief surrogates who help the bereaved by impersonating their recently-departed loved ones, the film is similar to its predecessor in its off-kilter tone and refusal to fit into any one genre or …

In a very real way, Birth Story: Ina May Gaskin and the Farm Midwives presents the other side of the Pincus coin: where that film teeters near death, Sara Lamm and Mary Wigmore’s documentary focuses on birth. Gaskin, regarded as the “mother of authentic midwifery,” has been present for over 1,200 births, written four books, and lectured across the U.S. and abroad since founding the Farm Midwifery Center in Tennessee in the early ’70s—no slim resumé. Lamm and Wigmore have compiled a great deal of footage from the period – bearded men wielding guitars, fuzzy camerawork, and hippie gatherings are …

The North American premiere of Woody Allen’s To Rome with Love was the big to-do Thursday night in downtown Los Angeles, and not just because it opened the L.A. Film Festival: Allen doesn’t often visit the city (not even when nominated for an Oscar), making his personal introduction of this latest work something of a coup for the fest. And while it would be wrong to call a new film by the endlessly prolific director a cinematic “event” in the same vein as, say, the arrival a new Terence Davies project, so too would it be wrong to think it …