If the direct emotion pull and inclusive vibe of Naoko Ogigami’s Close-Knit could be expressed in a single scene it would perhaps be the moment early (Ogigami’s...
Japanese cult filmmaker SABU is known to spice things up in his work. The kooky mix of violence, fantasticism and humor sometimes leads to unwatchably ridiculou...
“No one gets over anything," remarks Stellan Skarsgård’s Max, rekindling with old flame Rebecca years after they last met. He was a fledgling writer, she an ide...
What Kiarostami is to the front seats of a car and Bresson is to the prison, so Aki Kaurismäki is to the perennial mid-80s Helsinki; that dark pastel-colored no...
The worst choices for festival competition aren’t necessarily the worst films. Those which aim too high, go too far, try too hard often end up making a complete...
As the ice flows thaw in the 24-hour daylight of a northern Norwegian summer, so too does the relationship of a father and son in Thomas Arslan’s Bright Nights,...
Liberalism will eat itself! At least according to The Party, that is, and we’re not just speaking figuratively. Indeed, at one point in Sally Potter’s new film ...
There's universality to Mathieu Denis and Simon Lavoie's Those Who Make Revolution Halfway Only Dig Their Own Graves, even if it is very much a Québécois film. ...
British filmmakers have a recent habit of bringing about canonical additions to UK queer cinema with their debuts. Andrew Haigh’s heartbreaking romance Weekend ...
