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Eleven years after its launch, the Morelia International Film Festival (Festival Internacional de Cine de Morelia, FICM) is still Mexico’s most vibrant venue for both up-and-coming and established filmmakers.

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In the wake of new leadership for the first time in twenty-five years, the New York Film Festival seemed more about consolidation than change.

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Special guest columnist B. Ruby Rich reports from the Sundance Film Festival

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Paul Julian Smith writes about the Guadalajara International Film Festival, discussing The Prize and Windows to the Sea

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Megan Ratner reports from New York’s New Directors/New Films festival, praising The Minister, Las Acacias, and Stanley Kubrick’s debut Fear and Desire.

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Brigitta B. Wagner reports from the 2012 Berlin International Film Festival, reviewing Farewell My Queen, Sister, Jaurès, Revision, Barbara, and Our Homeland.

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Megan Ratner’s review of David Cronenberg’s A Dangerous Method incorporating interview comments by the director.

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Report from the London Film Festival 2011: Dark Horse (Todd Solondz), We Need to Talk About Kevin (Lynne Ramsay), Shame (Steve McQueen), Carnage (Roman Polanski), A Dangerous Method (David Cronenberg), and Alps (Yorgos Lanthimos).

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The typical challenge of any film festival report is to create a fictional narrative out of thin air, or a meaningful proposition out of chaos. And this becomes even harder in an era when layoffs of various film reviewers have coincided with a continuing erasure of any clear line separating criticism from advertising in most mainstream venues.

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The Internet may have finally delivered avant-garde filmmakers the audience they always claimed they wanted. With experimentation rejected by the moving-image industry, and moving image shunned by commercial art galleries until the 1970s, film and video artists in the twentieth century relied on film festivals, grassroots film clubs, artist-run co-operatives, and art school curricula as channels of distribution.

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