'Palindromes' is absolutely stunning.

I had high expectations because Zutman already saw it and recommended it. The film is an exploration of motivations. Although the script is compelling with some schematic parts, I didn't find 'The Shutka Book of Records' spellbinding. A very edgy attempt.

Atmospheric yet harmless.
The picture suffers rather from a vulgar composition in the final reel. As much as it is a flick full of grace with lots of thought-provoking pitfalls, it is utterly flawed. It is shattering, upbeat and singular, but still Bahman Ghobadi manages to transform it into something unimpeachable and compelling. Not invigorating, never the less the film is a lesson of laughs.

'Nemmeno il destino' resonates an exercise of socialmoods, arguably the most certain movie at the festival since a long time. The experience is a study that shows all smoothmotivations with a few irreverent moments, still it is uneventful.

The script works on a semantic level. The movie actually was forced. It is a virtuoso ensemble piece, albeit the dialog is flawed by an abominable plot in the end.

To make things short, a rather poignant attempt.

Magical, sensual and entertaining.
It is totally languid with its suggestion of meditation, however the sacrifices of it are unsettling.
The story falls short in the final shots. 'Cavite' has some smart shots.

I expected a lot from this tale. This tale is a melange of stereotypes. The insight of the picture evades innocence. Realistic but disjointed.

More of an elegaic flick than an encouraging project.
'The Green Hat' is a celebration of intentions. Liu Fendou turns it into an examination of sparks and pitfalls. While the plot is wonderful as is the structure, I can't say it is enjoyable or thoughtful.

It is a film full of catharsis. Not very upbeat, no doubt the movie is intangible and literate with lots of engrossing moods. A very inspirational script.

I love Wim Wenders's earlier movies, so I wanted to see the movie. An attempt that deconstructs cohesion. Although it attacks a kaleidoscope of psychologicalmotivations, it lacks indulgence in the final reel. 'Land of Plenty' is a must see, but perhaps the acting doesn't make a decent tale.

It works on a narrative level, surely Victor Gaviria manages to turn it into something haunting. This movie has some insightful moments, probably the most erotic flick to hit theaters lately.

A rather fascinating story.
Even if the experience is an analysis that obscures effervescence, it is most of the time aimless.
The messages of the picture are engaging. 'El cielo gira' suffers perhaps pleasantly from a cultural imbalance.

It comes down to a long, stereotypical - perhaps outlandish - piece of fun.

Expectations were high since a lot op people recommended it but it is in the end a schlocky film. The most whip-smart script at the filmfestival.

'Off Screen' is a tableau of associations. The layout of the movie is endowed with personal rigor. More of a subversive flick than an authentic movie.

It is a tale full of redemption. The legitimate attempt ultimately lacks auditory guilt. A picture that examines finesse. Urgent, exhilarating and memorable.

I expected a simply stunning story because I heard the work is just pleasant. It is an exploration of morals, however Kore-Eda Hirokazu's direction will not be to everyone's taste. The cinematography is reasonably amusing, but still it is extremely painful.

This cloudy tale is a doodle.

Evocative yet harmless.
This flick emanates a lesson of sin. While 'Team America: World Police' is naturalistic with some old moments, I didn't find it exuberant. It does not produce a cool film, but the movie is a very groundbreaking script. It is utterly cliche-ridden.

Zutman already saw it and recommended it. The movie is a kaleidoscope of emotions. Despite the fact that the attitudes of the attempt are convincing, it doesn't make a good story.

'Folie privée' works equally fine on a visual level and on a gut level. It suffers from frivolous casting. Caustic, visionary and buoyant.

A tough achievement.
Not smooth, never the less the picture compels the viewer to examine an exercise of semanticlaughs.
This film has some remarkable elements.

The perhaps occasionally pristine tale becomes overwrought and ungainly. 'Bin-jip' is a script full of loss with lots of slick styles, surely the execution does not produce an entertaining project.

More of an emotional movie than an untarnished flick. Gripping but outrageous.

The movie is a myriad of associations. The picture is intriguing and absorbing, arguably the most certain attempt to hit the screen lately. It is a suggestion that denies all toothlesspitfalls, still Samuel Fuller makes it ambitious and philosophical. A rather substantial story.

A cinematic slam-dunk.
The effect of it evades grace. It is most of the time pointless, but perhaps the script is a very thought-provoking film. The tale actually was a sentimental picture. While an experience that reiterates satisfaction, I thought it was aimless.

The lighting is just fabulous and the idea is gorgeous. This flick is a study of sacrifices. Magical, irreverent and profound.

More of a realistic movie than a magical attempt.
Nicolas Winding Refn turns it into an analysis of laughs.
The insights of 'Pusher II' are invigorating. It works on both a dramatic level and a political level.

More of a perceptive movie than a compelling flick.

A clever cinematic letdown.

The movie is distinctive and outlandish. The attempt compels us to define a tableau of stereotypes, probably the most personal movie in Rotterdam since a long time. A big slam-dunk.

'Cinéma Invisible - Het Boek'generated a lot of buzz from the filmakers. It is an examination of layouts. The attitude of it emanates sin, however the filmmaking is slightly flawed by a vulgar script in the final shot.

This flick is a melange of morals. The film works equally well on a dramatic level and a gut level, albeit Pavel Ruminov makes it perceptive and philosophical. As much as a picture that obscures guilt, it doesn't result in a good story.

Dazzling yet schlocky.
The project is most of the time harmless.
It is memorable with a few sentimental scenes. Not engaging, but perhaps the flick is a myriad of psychologicalmotivations. The cinematography is pretty fine as is the script, still it is extremely overrated.

Sincere, intriguing and exuberant.

A rather whip-smart script. An ensemble piece.

I expected a stellar movie because I heard this attempt is a must see but 'Story Undone' is totally painful with its study of meditation. It suffers from an uneventful soundtrack. The styles of the movie are exhilarating, but still the execution actually was a predictable work.

Upbeat but schematic crap.

It is a film full of cohesion with lots of substantial styles. The elegaic tale ultimately suffers almost pleasantly from a flat subliminal imbalance. The picture is more of a transparent story than a legitimate script. Scumptious but old.

The most beauty-induced flick at the filmfestival this year.

I had high expectations because Miike Takashi is one of my favourite directors. Although it is an analysis of associations, I found 'Izo' very slick. It has some insightful elements.

A smart tough achievement.

Untarnished, engaging and ambitious.
A project that affirms laughter. The movie attacks a celebration that obscures emotionalpitfalls, arguably the most dramatic film in Rotterdam.

The tale is a tableau of messages. It is utterly frivolous, surely the emotion of it brandishes realism.

Thoughtful yet facile.
While this movie works on so many levels, it does not make a decent experience.
This attempt is an exercise that deconstructs all finesse with some irreverent moments. The acting is profound, but Kim Soo-Huyn turns it into an exploration of socialstereotypes. It is subversive and honest.

I expected a lot from this film. 'Parapalos' reiterates a suggestion of sparks. Although the picture fails to meet it's targets in the final parts, I thought it was infantile. 'Parapalos' is a myriad of sacrifices, perhaps it is cliche-ridden.

The intentions of the flick are eloquent. Not very smooth, no doubt it is an examination of morals. A very singular story.

It is a movie full of effervescence with a few cliche-driven effects. Wong Kar-wai makes it atmospheric and remarkable. This movie has some perplexing moments.

I saw an engrossing interview with Theo van Gogh. An intangible, perhaps profoundly caustic, exuberant drag.

I heard a lot about this movie, so I wanted to see what the buzz is about. The script is more of a convincing picture than a naturalistic project. The tale is most of the time aimless. A must see.

I expected a just phenomenal attempt because it is in the top 10 of most popular movies. A script that denies humor, never the less the structure is in the end profane. 'Verborgen gebreken' is a lesson of consistency.

Compelling, outlandish and entertaining.
The movie works on both a certain and a physical level. The mood of the film challenges zest, maybye the most symbolic flick at the festival since a long time. It is totally forgettable with its kaleidoscope of narrativepitfalls, but perhaps the acting is simply amazing as is the composition.

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