Polish-born, UK-based filmmaker Pawlikowski (My Summer of Love) returns to his native land for this evocative, resonant art film about a novice nun discovering a family secret in the 1960s. Beautifully shot in black and white, this award-winning drama has been compared to the work of Francois Truffaut and Robert Bresson.
"In a very short time, Pawlikowski’s film tells us a powerful, poignant story with fine, intelligent performances." — Peter Bradshaw, The Guardian
"This story of faith and despair is gracefully told, its simple, uncluttered spaces and luminous black-and-white photography harking back to Robert Bresson." — JR Jones, Chicago Reader
"It’s absolutely stunning, one of the year’s best films, and a fulfillment of the promise that the director has shown for so long." — Oli Lyttleton, Indiewire
Return of the River vividly portrays the epic story of the freeing of Olympic National Park’s mighty Elwha River from two salmon-blocking dams. It is a story of hope and possibility amid grim environmental news. It is a film for our time: an invitation to consider crazy ideas that could transform the world for the better.
The Elwha Klallam people, scientists, fishermen, politicians, enviros, and townsfolk all add their voices to a film that is visually dazzling, lyrically evocative, and fluid as mountain snowmelt.”
— Tim McNulty, poet, essayist, nature writer
In January 2013, filmmaker Laura Poitras was in the process of constructing a film about abuses of national security in post-9/11 America when she started receiving encrypted e-mails from someone identifying himself as “citizen four,” who was ready to blow the whistle on the massive covert surveillance programs run by the NSA and other intelligence agencies. In June 2013, she and reporter Glenn Greenwald flew to Hong Kong for the first of many meetings with the man who turned out to be Edward Snowden. She brought her camera with her.
"The documentary of the year may also be its most hair-raising thriller." — Liam Lacey, Globe and Mail
"This patient, beautiful, painful, engrossing film pits husband and wife against each other and their world in a series of extended conversations/confrontations." — Alan Scherstuhl, Village Voice
"Tense and frightening ... a primal political fable for the digital age." — New York Times