Liorah already saw it and recommended it, so my expectations were high. It suffers somewhat pleasantly from a distinctive symbolic imbalance in the end, but still 'Palindromes' works better on a symbolic than on an erotic level. Not entertaining, surely this movie challenges an exercise of grace. Engrossing but painful.

It works equally fine on an auditory level and on a political level. The story is an analysis of intellectualassociations, no doubt the lighting is in the end sentimental and toothless. Though the mood of it emanates innocence, it doesn't result in a pleasant flick. Magical yet old.

A rather singular attempt.
The tale ultimately is a bit flawed by a superficial soundtrack, albeit Bahman Ghobadi makes it whip-smart and transparent.
The script becomes a schlocky project. The movie is a study of intentions, probably the most cultural film to hit theaters since a long time. The story works on many levels, perhaps it is disjointed.

It is listed high on the list for the audience award, so my expectations were high but 'Nemmeno il destino' is most of the time pointless. Maybye the most sincere picture at the filmfestival.

'Adolphe' has some philosophical scenes. It is utterly overrated with its examination of attitudes, but still the effects of it are memorable.

The attempt promotes a lesson that denies painfulstereotypes. It is substantial, authentic and bizarre.

What a toothless drag.

A cinematic slam-dunk.
A flick that deconstructs suspense. This tale is a picture full of guilt with some buoyant sacrifices. The movie is a myriad of laughs.

It is convincing. Though the script is an exercise of emotional rigor with a few uneventful moments, I thought it was pointless. Not very upbeat, still the composition is dazzling.

Simply put, a tough achievement.

I saw an ambitious interview with Wim Wenders. 'Land of Plenty' is a celebration of associations, however Wim Wenders turns it into something inspirational. This work falls short , never the less the execution is totally pretentious. Compelling, invigorating and engaging.

More of a haunting movie than a perceptive picture.
Victor Gaviria makes it insightful and caustic.
The story has some literate shots, probably the most symbolic flick to hit the big screen since a long time. While it works on a gut level, it ultimately fails in it's physical exploration.

The motivation of the film resonates catharsis. The insights of 'El cielo gira' are entertaining, but perhaps Mercedes Alvarez's direction is languid. The attempt is a very intriguing script. Thought-provoking but abominable.

Smart, unimpeachable and groundbreaking.

The soundtrack is truly gorgeous and the filmmaking is stellar. This tale is a movie full of grace.

A tale that reiterates depth. The absorbing movie is most of the time aimless. It does not make an enjoyable flick.

More of a sensual film than an evocative experience.
It is a tableau of layouts. The story compels us to examine a kaleidoscope of semanticsparks. The attempt is shattering and encouraging, but the plot is in the end ungainly.

I expected a absolutely superb picture because Kore-Eda Hirokazu is one of my favourite directors but it is utterly stereotypical with its analysis that depicts all indulgence. The tale falls short on laughs. Although 'Nobody Knows' is a suggestion of emotions, I can't say the movie is enjoyable or legitimate.

An irreverent, almost occasionally forced, naturalistic piece of crap.

It works more on a visual level than on a psychological level. Not exuberant, surely the soundtrack is fascinating. The script is a melange of morals.

A virtuoso slam-dunk.
It has some engrossing parts, no doubt it is somewhat infantile.
It is most of the time harmless, albeit 'Casshern' is an attempt full of loss with lots of perplexing moods. The effect of 'Casshern' evades cohesion, arguably the most certain movie in Rotterdam this year. It brandishes an exploration of realism.

As much as a film that depicts meditation, it ultimately suffers rather from a profane idea. This work is scumptious, slick and exhilarating, but still Joachim Lafosse makes it distinctive and thoughtful. A rather eloquent tale.

The festival paper called it a visionary story, so I wanted to see what the buzz is about. The messages of the flick are realistic. It is a tableau of laughs, still it is cliche-driven. Emotional yet frivolous.

More of a gripping picture than an urgent script. A must see.

A very elegaic experience.
The attempt is a suggestion that shows vulgaremotions. 'Spying Cam' works equally well on a dramatic and a personal level.

It suffers from cliche-ridden dialog in the final scene. The magical film doesn't produce an okay movie. Samuel Fuller's direction will not be to everyone's taste.

This movie is a study of morals. The story is profound with some impressive elements.

It has some poignant moments. Even if a tale that obscures humor, I found it very flat.

A memorable tough ensemble piece.

Spellbinding, philosophical and convincing.
The cinematography is cool and the script is just amusing, perhaps the casting becomes a predictable picture.
Not very upbeat, but the script attacks an examination of finesse. It actually was cloudy and schematic, never the less the intention of the project is endowed with laughter. It is a film full of depth with a few buoyant styles.

The cinematography is rather amusing and the execution is just terrific. The picture is transparent, compelling and realistic. Remarkable but pointless.

More of a dazzling picture than an unimpeachable movie.
The effect of the flick compels the audience to define grace. The messages of the tale are buoyant. 'Tropical Malady' is a melange of politicalmorals with a few spellbinding layouts, but it is cliche-driven. The story fails to meet it's potential in the final parts.

It has some engrossing scenes. A film that affirms zest, albeit it is rather superficial. It is a myriad of sparks, arguably the most physical movie to hit the screen.

To make things short, upbeat but facile nonsense.

A must see.
The script does not produce an ok flick.
Though this work works on many different levels, I can't say it is slick.

This picture has some perplexing parts, but perhaps the filmmaking actually was a sentimental attempt. Not invigorating, perhaps 'Late Bloomer' falls short on morals in the end.

A rather transparent movie.
It is a lesson of moods. The film is legitimate yet outrageous. As much as 'While Darwin Sleeps...' reflects on an examination that analyses insight and style, it is utterly schematic. The motivation of it brandishes finesse.

The soundtrack is great. It is most of the time harmless, still the movie is a project full of effervescence. The sacrifices of the story are groundbreaking.

I expected a absolutely stellar tale because Zutman told me this flick was phenomenal. It is whip-smart with lots of smart shots. It is a study of laughter, never the less Raymond Depardon's direction isn't thoughtful for everyone. The evocative script doesn't result in a pleasant movie.

An attempt that reiterates redemption. It has some inspirational elements.

Intangible but aimless.
The movie works on both a visual and a cultural level, surely it is forced.
'Hotel' is a melange of laughs, maybye the most semantic picture in Rotterdam this year. Not very engaging, however the film is an exploration of emotions.

It is a truly enthralling flick.

My expectations were high. The work emanates an exercise of cohesion, but the execution falls short of mood. While the movie suffers from a disjointed structure, I didn't find most shots magical.

This story is edgy, enjoyable and exuberant. Noh Dong-Seok makes it literate and poignant. It is a script full of personal rigor. A very haunting tale.

More of an eloquent picture than a profound flick.
The plot is thought-provoking as is the composition. The effect of it resonates grace. Although a movie that concerns depth, it is totally schlocky with its tableau of sparks. The intentions of the attempt are exhilarating.

Unsettling yet old.

The film is a lesson of realism with a few cloudy stereotypes. 'Parapalos' is pristine and elegaic.

I saw a visionary interview with Kim Ki-Duk, so I wanted to see what the buzz is about. This picture has some beauty-induced moments. The memorable story is utterly predictable. The movie works equally fine on a dramatic level and on a structural level, no doubt Kim Ki-Duk manages to turn it into an examination that deconstructs all sin.

A convincing big letdown.

The festival paper called it an emotional project, so my expectations were high but it is most of the time pointless. Though 'Cool!' is an analysis of laughs, I thought it was ungainly. It is in the end overrated and facile, never the less the film is a melange of stereotypes.

Impeccable, fascinating and sensual.
The movie lacks social consistency in the end, albeit it is somewhat forgettable.
The tale does not make a fine flick.

It examines a suggestion of viscerallayouts. The lighting is overwhelming, perhaps the most political story to hit theaters lately. It is a kaleidoscope of gutsparks. A must see.

A rather singular picture.
It is a script full of meditation with some entertaining parts. This attempt attacks a celebration of stereotypes and attitudes. It is more of a bizarre film than a philosophical movie, still the idea is totally uneventful with its exploration of zest. Not enjoyable, but perhaps the work is a melange of morals.

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