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
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The story of a would-be beauty queen who falls foul of Mexico’s drug gangs, Miss Bala is more than just another document of Latin America’s social ills, says Paul Julian Smith
Two years on from Avatar, audience fatigue and critical scepticism may be peaking just as genuinely adventurous 3D work is coming our way. Don?t write off 3D yet, says Ian Christie
The Mist in the Palm Trees creates a haunting found-footage montage of 20th-century history, says Michael Atkinson
Nick James introduces our in-depth coverage of this year’s Festival
Director Lynne Ramsay talks to Hannah McGill about her adaptation of We Need to Talk About Kevin
Outgoing LFF artistic director Sandra Hebron talks to Nick James
Bryony Dixon on the BFI’s restoration of The First Born, a 1928 silent rich in Hitchcock resonances
Jean-Pierre and Luc Dardenne talk to Geoff Andrew about taking a step in a (slightly) sunnier direction with The Kid with a Bike
Paul Julian Smith on why Mexican drug-gang pic Miss Bala is more than just another document of Latin America’s social ills
Nick Bradshaw rounds up the festival’s documentary contingent
Isabel Stevens on the ambitious, three-part Dreileben project
Tony Rayns heralds the flowering of an ethnically Tibetan cinema
PLUS Our top 20 unmissable picks of this year’s festival
Tyrannosaur, about a reformed alcoholic’s relationship with a victim of domestic violence, is the directing debut of actor Paddy Considine. Just don’t call it social realism, Considine and his leading man Peter Mullan tell Nick Bradshaw
Two years on from Avatar, audience fatigue and critical scepticism may be peaking just as genuinely adventurous 3D work is coming our way. Don’t write off 3D yet, says Ian Christie
The top award may have gone to a Russian, but British films made a remarkably strong showing at this year’s Venice Film Festival. Kieron Corless reports
Some of the big-name premieres disappointed, but the sheer scale of this year’s Toronto International Film Festival guaranteed some interesting discoveries, says Tom Charity
Having discovered a goldmine of original footage of the Black Power movement in the archives of Swedish television, documentarist Göran Olsson has crafted it into a remarkable document of the times, says Mark Sinker
A young woman sells her sleeping body for sex in Australian novelist Julia Leigh’s first film. Sophie Mayer pines for the expressivity of the film’s mentor Jane Campion
Boasting vivid performances from Peter Mullan and Olivia Colman, Paddy Considine’s sober, composed treatment of masculine violence and self-destruction marks an auspicious debut feature, says Trevor Johnston
Lynne Ramsay’s long-awaited return to filmmaking expresses a mother’s nightmare of raising a hell-child through a splatter of flashbacks and teasing use of the colour red. Tim Robey is impressed
A fierce and thrilling critique of notions of honour, Harakiri is, says Michael Brooke, one of the greatest of all Japanese films