2018
From the first frame to the last, Firecrackers is clearly a story by women, about women, stubbornly through their gaze without regrets.
The only thing more surreal than the experience of going to see Bi Gan’s Long Day’s Journey Into Night is perhaps the movie itself.
Much like life itself, Dominga Sotomayor’s Too Late to Die Young is a meandering, seemingly directionless tale but no less enrapturing for it.
Only You flips our expectations of a whirlwind cinematic romance to offer a painfully realistic look at the struggle to start a family.
Leto finds a balance between the reality of early rock under a communist regime and the fantasy rockers imagined.
Barbara Rubin and the Exploding NY Underground hooks viewers when it vies into a thrilling character study of a multifaceted, increasingly conflicted individual.
The Oscar-nominated Never Look Away shows signs of promise, but is let down by an epic scale that is never justified. Alistair Ryder reviews.
Whether you’re an avid theatre-goer, an actor, or someone who enjoys dark comedies, there will be something enjoyable in Ghost Light.
In Reality might not fully pass The Bechdel Test, but it’s a fun exploration of dating life and Ann Lupo’s filmmaking skills. Tuesday Blue reviews.
Pause examines the life of a woman trapped in an unhappy marriage, played with gusto by Stella Fyrogeni. Aaron Berry reviews.
The Raft is a rare documentary which aims to offer closure to its subjects, making it a rewarding watch. Hayden Cornmell reviews.
Papi Chulo is executed so exceptionally well and clearly with such care, that emotion pours out of the screen.
Endzeit (Ever After) is a breath of fresh air to see that there can still be originality in a tired troupe, a refreshing take on the apocalypse.
With deeply moving and dynamic performances top to bottom, American Woman is a powerhouse of a film.
With gorgeous cinematography, The Third Wife invites us into a broken world of arranged marriage and patriarchy in 19th-century Vietnam.
