Two titles at this year's New York Film Festival were deep character studies of women with fragmented pasts and a future that attempts to haunt them. While Tod...
Martika Ramirez Escobar’s creative and inspired debut Leonor Will Never Die employs a narrative trick à la Spike Jonze and Charlie Kaufman’s Adaptation. The st...
The ebbs and flows of a rather long, deliberately paced narrative can test most viewers. Especially difficult when it seems the movie’s central conflict doesn’...
Rima Das is one of this century's most remarkable indie-filmmaker stories from India. Essentially a one-woman crew, she released her debut feature Village Rock...
Peter Farrelly’s career is a fascinating example of a director whose brand of cinema became completely out of vogue after following a major American political ...
In a year and festival where Steven Spielberg releases a reflective film on his own life and relationship to cinema, it's understandable that we get a war film...
Australia’s answer to the 2022 Oscar Best Picture winner CODA is here. I’m only half-joking. Blueback is a bit better than the movie that most recently won Bes...
Earlier this year, in Goran Stolevski’s You Won’t Be Alone, a young witch becomes enamored with the life of humans. She starts to interact in a world where she...
Modernization and traditional living collide to strong political effect in Mattie Do’s third feature film The Long Walk. Its first few images see both an unide...
The concept behind Kyoshi Sugita’s Haruhara-san’s Recorder is resembling the structure of the Naoko Higashi poem on which it's based. Said poem, a tanka, is in...
