Eleanor Coppola captures her daughter Sofia Coppola at work on the set of her lavish 2006 historical drama.

Fatherland will surely have a fruitful run among specialized audiences (film lovers, history buffs, literary scholars).

It brings one refugee experience beautifully to light.

La Bola Negra feels like everything cinema can and should be when it dreams big with the right ambition.

A comprehensive, nearly encyclopedic catalog of the wealthiest person on the planet.

Director Georgia Oakley’s sober, naturalistic take comes at the expense of the novel and its author’s intentions.

For those who have seen the film previously, what has been added will be quite noticeable.

A case for three works by regulars on the festival circuit whose distribution futures—at least in the United States—remain unresolved.

Both documentaries are structured in a standard behind-the-music format. Where they diverge lies with the artists spotlighted. One engages; the other pulls back.