Fortissimo Films announced today that it has acquired global sales [...]

The few movies that have been made about the electronic dance music scene in the last twenty years have come and gone like mere blips and blops, in part because of weak plots and sub-plot and bad casting choices but also because techno, like drugs or sex, tends to make for boring on-screen subject matter. Movies about music need to have vivid characters that jump off the screen, like those in Cameron Crowe's 2000's ALMOST FAMOUS.

Thirty years after MAD MAX : BEYOND THE THUNDERDOM director George Miller brings MAD MAX : FURY ROAD. This new chapter in the post-acocalyptic saga includes an A-team cast made up of Tom Hardy (THE DARK KNIGHT RISES, BRONSON), Charlize Theron (MONSTER, PROMETHEUS), Zoe Kravitz (X-MEN FIRST CLASS, GOOD KILL) and Nicholas Hoult (YOUNG ONES, X-MEN : DAYS OF FUTUR

Time to dust off the Frantz Fanon reader. Colonialism, as well as Africa, its oil, gold and religion are the ambiguous motifs this new documentary film slated for release next week aims to confronts. For WE COME AS FRIENDS filmmaker Hubert Sauper swooped down into the context of his story, literally. He and his crew built a small aircraft especially for the film and flew it to the filming location, in South Sudan. This young nation

A comparative review of casino films pre-2000s with movies released in the new millennium suggest that this generation’s screenplay writers and directors have exhausted the genre, and the Internet’s various lists of top films in the category have not proven otherwise. The recent additions in the category have failed to impress at the box office with Jason Statham’s Wild Card, a substandard attempt to channel Burt Reynolds in Heat, as well as Runner, Runner which a Rotten Tomatoes

In THE TRIBE we're propelled head-first in a boarding school for young deaf and mute people, the tribe of the title, in which violence, trafficking and prostitution are commonplace. For the over two hours of the film's length there's not a single line of dialogue or caption, just the power of cinema to induce raw emotion through ruthless framing shots that spare us nothing and zeroes in on actors who are apparently

Ever since his first outing there in the nineties Jean-Michel Frodon, one of France’s most distinguished film specialists, traveled four more times to Iran, the country whose filmmakers gave us festival favorites like GABBEH, A TASTE OF CHERRY and CLOSE-UP. As your not-so-average tourist, at times, and as officially-summoned authority on cinema, at others, Frodon soaked up the lore and took in the sights, giving talks and trekking it