Beautifully shot with an acute eye for crisp composition, this intimate mood piece explores the subtle intricacies and low-level power struggles of long-term love in forensic detail.

Where some other recent observation-only docs (a format seemingly on the rise among festival entries) have suffered from sluggish pacing or needless obscurity, Light benefits from Yoonha Park's editing, which keeps things moving without suffering from ADHD.

A dash of showbiz pizzazz has been lost but some welcome emotional depth has been gained in the big-screen version of the still-thriving theatrical smash Jersey Boys.

The main performances are powerful, the visuals are bold and vivid, the final effect one of the gut having been punched and the mind stirred.

An unflinching portrait of state-sponsored evil, Manuscripts Don’t Burn feels like the work of an angry artist who has been jailed, censored and harassed too long. This time it’s personal.

Endlessly stimulating and provoking, Ivory Tower presents a solid overview of an urgent problem that some claim is about to implode and others believe can be worked through with the intelligent application of fresh ideas.

Never a full-on character piece or even an exploration of the titular sentiment, Jealousy instead offers moments of quiet tragedy in some seemingly innocent throwaway moments

There’s certainly an interesting documentary to be made about soccer, the world’s most popular sport by far, but This Is Not a Ball isn’t it.

The doc highlights undeniably important realities; but it doesn't find a narrative that sustains feature treatment.

A deluxe multi-character drama that blends real history with semi-fictionalized spy thriller and soap opera elements, Burning Bush feels in places like an extended Czech remake of the Cold War-themed German Oscar-winner The Lives of Others.

Though the inventions of Misan Sagay's script emphasize concerns over dowries and social rank that will be grating for many contemporary viewers, extracting little of the humor that Austen regularly found in such hang-ups, the picture's sour notes are balanced by fine performances and clear historical appeal.

This feature debut deals mainly in clichés, never transforming the tough question at its center into compelling cinema.

Derki and his experienced editor Anne Fabini have crafted a sober, sobering bulletin of unambiguous intention and undeniable power.

Credit a youthful, energetic spirit, nicely conveyed by its cast of naturally-acting newcomers, a workable raw-footage construct and a spare but smartly spent special effects budget for the satisfying end result.

The film rings false at almost every turn despite its naturalistic performances. Lacking emotional substance, it comes off as far too studied in its subdued intensity.

Hugely entertaining for much of its short running time before a third act that's problematic for various reasons, the film benefits from a top-notch cast and some sharp dialogue but will leave many viewers scratching their heads.

Rigor Mortis’ strongest suit lies with its cast. The film comes with lavish (and sometimes distractingly so) digital effects, but it’s the old-timers who are instrumental in injecting humanity and life into the film.

Raunchy humor laced with gradually revealed vulnerability makes for a winning combination in Obvious Child, a wildly funny and appealing female-centric comedy that launches very promising talent on both sides of the camera.

Refusing to offer easy answers or perspectives, Dormant Beauty is directed in such a way it doesn’t need to take a clear-cut position on the question, because like all the director’s work it has no concern with convincing people of anything, but a great deal of interest in illuminating contemporary Italian society.

While one might agree or disagree with their theme, aesthetically Citizen Koch is feisty.

Exhaustively tracking the five-year battle to overthrow California’s ban on same-sex marriage, they distill the dense legal process into a lucid narrative while illuminating the human drama of the plaintiffs, and by extension, the countless gay men and lesbians they represent.

The film offers some diverting background on the man.

2 Autumns often lets its cute and eccentric stylings get in the way of the story itself, which, once you strip away all the accouterments, feels rather underdeveloped.

Nirmalakhandan attempts to pull off this whirlwind display of staggeringly dysfunctional family dynamics with a lightness of tone that’s often at odds with events in the film.

Burning Blue squanders its admirable intentions with its amateurish filmmaking and ham-fisted dialogue.

Meditative, glossy doc provides some glimpses behind the curtain but isn't terribly enlightening.

This disappointingly conventional effort pales in comparison to the filmmaker's wildly audacious comedies.

The greatest strengths of the film clearly come from Green’s novel, which resolutely refuses to become a cliched cancer drama, creating instead two vibrant, believable young characters.