"The Wind" is the first fiction feature film by Emma Tammi, a filmmaker thus far known for her documentary film work. The inspiration for the film is real, however, and comes from a true story told in the newspapers left behind by women suffering from prairie madness, a common affliction amid European farmers come to colonize the American west in the 1800s. "The Wind" was adapted by Teresa

Fleeing Colombia and the FARC conflict after her husband died a woman and her two children arrive on an island named Fantasia located in the middle of the Amazon. This place sits at the crossroads of Colombia, Peru and Brazil, without belonging to any of those countries. It's a mysterious outpost in a kind of netherworld where the dead and the alive coexist. They can now look for the deceased husband, and father, and avoid being noticed too much.

We all remember the slow-motion ballet of bullets that closed Arthur Penn’s 1967 “Bonnie and Clyde,” with Warren Beatty and Faye Dunaway’s gangster-lovers meeting their violent demise on a rural Louisiana highway. It remains one of the most grippingly awful endings to a film, and as you watch it, it feels like it goes on forever.In reality it was just sixteen seconds. More than a half-century after Penn’s film

In November 2008, ten devotees of the extremist group Lashkar-e-Taiba staged a dozen terror attacks across Mumbai, resulting in over a hundred deaths. The final and most dramatic stage of the assault took place as the Taj Mahal Palace Hotel, where several of the terrorists held the hotel under siege for three days, killing dozens in the process with automatic weapons and explosives while being directed via phone by someone in

By the end of Alison Klayman’s Stephen K. Bannon documentary “The Brink”even the most liberal viewer may find themselves rooting for the alt-right agitprop mastermind. In “The Brink,” which opens Friday, Klayman presents a cinema vérité year in the life of Bannon, from the time of his firing from the Trump White House and culminating in the 2018 midterm elections, which saw the Democrats retake the House

If there have been more boring recent films than Benoît Jacquot’s “Last Love,” ("Dernier Amour" in the French original) none readily comes to mind. Though one must admit that it’s a feat in itself to have such rich material to deal with and to turn it into a yawn-inducing couple of hours. The last fling of the maestro of love himself, Giacomo Casanova, (and, if the script based on the Venetian adventurer’s own written story of

For Diane (Mary Kay Place), a kind of selfless stoic, everyone else comes first. Generous but with little patience for self-pity, she spends her days checking in on sick friends, volunteering at her local soup kitchen, and trying courageously to save her troubled, drug-addicted adult son (Jake Lacy) from himself. But beneath her unending routine of self-sacrifice, Diane is struggling with her own demons, haunted by a past she cannot let go