experimental
Noé’s split-screen theatrics allows for double the amount of decision-making, double the choreography, and the narrative trickery in Lux Æterna & Vortex.
Combining found footage, family photographs, and Karim Ainouz’s own camerawork, Mariner of the Mountains is a brilliant mix of family history and origins.
The warped claustrophobia of Masking Threshold is wholly original, making it one of the best horror films of the year.
The film making is far from flawless, but what Ganja & Hess really projects is the sense that it came from a person who wanted the work to reflect himself.
Beetle Queen Conquers Tokyo is comforting, emotive, overwhelming at times, and always worth the time spent giving it your full attention.
The Entire History of the Louisiana Purchase ventures into nearly every documentary topic imaginable except what the title might imply.
An interesting, esperimental short film, The Flying Fish explores the more surreal realms of our existence that lights and cameras alone struggle to conjure up alone.
The Burial of Kojo is an aesthetically accomplished debut for Sam Blitz Bazawule, but the narrative itself is far from perfect.
What is considered Latin American art cinema today? Who defines the accepted hegemonic profiles of the films that receive funding and are shown all over at European film festivals?
In this first report from NYFF, we delve into Jean-Luc Godard’s latest film and an experimental feature from Ming-liang Tsai.
With an interesting premise not given the correct treatment, The Escort stands as a cinematic experiment that didn’t quite work out.
We review three films from the Drunken Film Fest, a festival organized on two continents by two writers from Film Inquiry, Jax Griffin and Arlin Golden.
In our first Melbourne International Film Festival report, we cover a collection of films, including Columbian crime dramas, a time-bending German war film, and an experimental exercise in young adult race relations.
We got a chance to speak to director Finlay Pretsell of cycling documentary Time Trial after it played at Sheffield Doc/Fest.
Though Duck Butter’s attempts to distinguish itself in an overloaded genre are admirable, it is unfortunately too undercooked to be a fully-fledged success.
