Tag: World Cinema review
Balloon | Review
An Air Affair: Herbig Revisits GDR Getaway in Strait-laced Thriller
German director Michael Herbig, best known for his comedic films in his native country, makes...
The Whistlers | Review
If I Want to Whistle, I Whistle: Porumboiu Goes Mainstream with Neo-noir
Romanian New Wave alum Corneliu Porumboiu makes a marked departure with his latest...
DAU. Natasha | 2020 Berlin Intl. Film Festival Review
The Russia House: Khrzhanovskiy & Oertel Arrive from Russia with Love
As far as the cinematic form has been concerned, there’s been nothing which courts...
Guns Akimbo | Review
We Lost God Control: Howden Gets Loud with Gamer Action Comedy
Video games killed the cinema star could be one of many punchy quips concerning...
The Woman Who Ran | 2020 Berlin Intl. Film Festival Review
Rendezvous in Seoul: Sang-soo Gets Spare in Conversational Triptych
Ending a rare year-long absence from the cinema (an observation of note since he presents two...
Greed | Review
In a Rich Man’s World: Winterbottom Wobbles with Elementary Satire
Perennial British filmmaker Michael Winterbottom, who has presented a number of different narratives across...
All the Dead Ones | 2020 Berlin Intl. Film Festival Review
Turn and Face the Strange: Caetano & Gotardo Navigate Displacement in Stellar Period Piece
The tagline for George Cukor’s 1939 classic The Women read “It’s...
Hidden Away | 2020 Berlin Intl. Film Festival Review
Painter Man: Diritti Resurrects Famed Italian Artist
Italian director Giorgio Diritti presents his first film in seven years with Hidden Away, a biopic on famed...
One of These Days | 2020 Berlin Intl. Film Festival Review
Hands of Fate: Gunther Paints Compelling Portrait of Pride and Poverty
German born director Bastian Günther returns to the other side of his dual citizenship...
The Intruder | 2020 Berlin Intl. Film Festival Review
The Sound of My Voice: Meta Delivers Masterful Psychological Identity Horror
Does it come from without or within? ‘It’ being the perception of danger, delusion...
Young Ahmed | Review
Stabbing Backwards: Dardennes “Beet” Misguided Youth into Submission
Up until now, even the most disenfranchised personage in Dardennian cinema had at least a glimmer of...
Charter | 2020 Sundance Film Festival Review
The Custody of Love: Kernell Returns with Emotionally Wrought Portrait of a Mother’s Love
Consider the standard, universally familiar (i.e., acceptable) narrative of fathers who...
High Tide | 2020 Sundance Film Festival Review
The Moon in the Gutter: Chen Turns Tables in Taut Character Study
Argentina’s Veronica Chen adds to the annals of violent amour fou with her...
Exil | 2020 Sundance Film Festival Review
Fugee Fugue: Perceptions and Paranoia Make Bitter Bedfellows in Morina’s Drama
For anyone who’s ever experienced the phenomenon of ‘otherness,’ Visar Morina’s terrific sophomore film...
Summer White | 2020 Sundance Film Festival Review
Sons & Lovers: Patterson Explores the Trouble with Sharing the Love in Subdued Debut
The subject of the single mother is a scenario rife for...
Portrait of a Lady on Fire | Review
Paint it Bright: Sciamma Dazzles with Career-Best, Ardent Period Drama
You only need a few seconds to fall in line with Céline Sciamma’s commanding directorial...
In Fabric | Review
Dress to Kill: Strickland Strikes Again in Luscious Homage to 70s Cinema
“Dress shabbily and they remember the dress; dress impeccably and they remember the...
Little Joe | Review
Stamen Alive: Hausner Examines the Pursuit of Happiness in Cerebral Sci-Fi
It was “the nightmare that threatened the world” and something that came from “deep...
The Kindness of Strangers | Review
Strife Itself: Scherfig Delivers Major Misfire with Manhattan Set Melodrama
Lest we forget, it was Blanche Dubois, the broken seductress of Tennessee Williams’ classic A...
Wisdom Tooth | 2019 PYIFF Review
A seductive debut film, Liang Ming’s Wisdom Tooth is a bildungsroman, both understated and immersive. Vividly rendered characters, organic humor plus a splash of...
Queen of Hearts | Review
The Sorrows of Milf: Dyrholm Puts the Extra in Extra-Marital as the Star of el-Toukhy’s Uncomfortable Drama
Danish director May el-Toukhy crafts a compelling melodrama...
Frankie | Review
A Death in the Family: Sachs Sacks Huppert in Sun Dappled Soap Opera
The latest film from American director Ira Sachs is set in the...
The Day Shall Come | Review
Fooling the Children of the Revolution: Morris Returns with Dark, Political Satire
Stakes are perhaps too high for writer-director Christopher Morris’s sophomore film following the...
The Nightingale | Review
Bloody White People: Kent Hits Hard with Brutal Revenge Trip
Jennifer Kent follows up her formidable debut The Babadook with a less inventive, but decidedly...
Our Time | Review
Love Like Poison: Reygadas Returns with Frustrating but Forthright Marital Drama
Interminable? Yes. Navel-gazing? Perhaps. But furious in its candor? Absolutely. Carlos Reygadas returns for...
Oleg | 2019 Cannes Film Festival Review
Immigrant Song: Kursietis Explores a Modern Slave Trade in Sophomore Film
Latvian cinema seems on the verge of an international breakthrough, with various new directors...
Diamantino | Review
Politicizing Camp: Abrantes & Schmidt Post a Win with Imaginative Soccer Satire
After a decade decade working in the short experimental form, festival faves Gabriel Abrantes...
The Traitor | 2019 Cannes Film Festival Review
Witness for the Prosecution: Bellocchio Delivers Vigorous Portrait of the Man Who Took Down the Cosa Nostra
Italian auteur Marco Bellocchio, on the verge of...
Mektoub, My Love: Intermezzo | 2019 Cannes Film Festival Review
Dancing…Yeah: Kechiche Spins Like a Record Round in Vacuous Sequel
The French-Tunisian director who won the 2013 Palme d’Or for Blue is the Warmest Color...
Sick, Sick, Sick | 2019 Cannes Film Festival Review
Lover, Come Back: Furtado Hearts Hemoglobin in Sinister Debut
The heart is a lonely killer in Brazilian director Alice Furtado’s apprehensive narrative debut Sick, Sick,...
Parasite | 2019 Cannes Film Festival Review
A Judgement in Stone: Joon ho Tackles Privilege in Black Comedy
Strident class disparities in South Korea provide Bong Joon-ho with a novel approach to...
Heroes Don’t Die | 2019 Cannes Film Festival Review
Crimes of the Heart: Rapin Explores Mediums as Remembrance with Inquisitive Debut
The idea of reincarnation was once a virulent staple of American genre films,...
The Unknown Saint | 2019 Cannes Film Festival Review
Gimme the Loot: Money is the Root of Good and Evil in Aljem’s Debut
Love the sinner and not the sin seems to be the...
Non-Fiction | Review
The French Publisher’s Wife: Assayas Straddles Digital Criminals and Corporate Cannibals in Playful Bon Mot
Hardly a stranger to the back room wheeling and dealing...
Quartet (1981) | Review
Of Human Bondage: Ivory Gets Art Deco Dysfunction in Underrated Rhys Adaptation
Merchant Ivory became the first major company to adapt the work of novelist...
Rafiki | Review
Let’s Be Friends: Kahiu Dares to Question Kenyan Conservatism
Social conventions always require such power and resistance that brave individuals must engage in a continuous...
High Life | Review
An Outpost of Progress: Denis Gets Daring with Esoteric Sci-Fi
Of Claire Denis’ impressive English language debut High Life, perhaps a famous line from Alien...
Boyz In The Wood | 2019 SXSW Film Festival Review Ninian Doff
Ninian Doff Goes Brogue While Delinquents Go Scot-Free
Scottish music video-director Ninian Doff offers an uneven but hilarious debut with Boyz in the Wood: a bonkers action-comedy...
3 Faces | Review
Faces, Places: Panahi Provokes the Patriarchy in Quiet Hybrid Drama
Now nearly half way through his twenty-year ban from filmmaking, (a damning sentence passed down...
Woman at War | Review
Female Misbehavior: Erlingsson Explores Ecofeminism in Entertaining Character Portrait
After exploring the defining social elements between humans and their horses in his homegrown debut Of...
Transit | Review
Those Who Leave: Petzold Collapses Past and Present with Holocaust Redux
Switching things up considerably compared to his previous offerings, German auteur Christian Petzold makes...
Greta | Review
She Will Always Beat You: Huppert Get Homicidal in Jordan’s B-Thriller
There’s more than one way to depend on the kindness of strangers, including using...
Hotel by the River | Review
Heartbreak Hotel: Estrangement and Reunion Synchronize in Latest Sangsoo Slice of Life
It’s a short-lived distinction to be called the latest anything from South Korean...
Acid | 2019 Berlin Intl. Film Festival Review
Melt With You: Gorchilin Tracks the Apathy of Russia’s Youth in Agitated Debut
No one gives a damn about their generation until they begin to...
Daughter of Mine | Review
Miss Mom: Bispuri Challenges Family Symmetry in Captivating Sophomore Pic
With her sensory filled coming-of-age sophomore feature, Laura Bispuri navigates the sweet and sour voyage...
Dolce Fine Giornata | 2019 Sundance Film Festival Review
Under the Tuscan Sun: Borcuch Presents Compelling Intersection on Art and Political Responsibility
Polish director Jacek Borcuch travels abroad once again for his fifth feature,...
I Am Mother | 2019 Sundance Film Festival Review
They Call Me Mother: Sputore Examines What It Means to Be Human in Sci-Fi Debut
Australia’s Grant Sputore makes an impressive directorial debut with the...
Monos | 2019 Sundance Film Festival Review
Monkey See Monkey Do: Landes’ Latest a Moody, Hermetic Portrait of Guerilla Warfare
Brazil’s Alejandro Landes concocts a moody, textured exercise on child soldiers and...
Touch Me Not | Review
Touch All This Skin: Pintilie’s Hybrid Sexcapade Explores the Fleeting, Obscure Nature of Intimacy
With her narrative debut Touch Me Not, Romanian director Adina Pintilie...
The Favourite | Review
Courtship at Court: Lanthimos Delights with 18th-century Royal Love Triangle
At Her Majesty Queen Anne’s palace, its a disheveled state of affairs. There’s an ongoing...
