immigration
If Pixar’s latest offering suggested that Fire and Water can mix, the same can’t be…
There are a lot of movies that like to take on public issues silently, hiding them in the background. Marisol is not one of those films.
Jaddoland’s depiction of immigant life through imagery and meditations will echo throurh ghte hearts and minds of its audience.
Although it seems to promise an unvarnished view of a topical issue, ultimately The Flood’s refusal to pick a side robs it of any real purpose.
How Far Is Home is a well-made documentary short film with good food for thought that doesn’t quite stick the landing.
Atlantics tells the story of the women who are left by their men as the latter migrate to seek work, and it tells that story beautifully.
Back to the Fatherland looks at Israelis who have moved to Austria despite the historical hardships. Intriguing, yet the execution doesn’t do it justice.
While The Sun Is Also A Star does its job, it falls prey to the humdrum curse of countless other romance films.
Diamantino is too insufferably quirky to offer any meaningful statement on the socio-political issues it references.
Marisol is an eye opening experience for the viewer, its intensity and visual representations resonating long after the short has ended.
A film that is extremely competently made, it’s easy to understand why And Breathe Normally was praised so highly at Sundance
95 And 6 To Go follows the Takesues in a one-of-a-kind document; exploring the family’s innately meaningful transgenerational memories.
In this Tribeca Film Festival Round-up, Stephanie Archer looks at the films she saw that found that dominated their central focus and inspiration in oppression, fear and freedom.
After years as a struggling actress, Ana Asensio decided to try get her own project off the ground. A year after it’s SXSW premiere, and her film, MOST BEAUTIFUL ISLAND, has endured a wave of acclaim. She spoke to Andrew Winter about the process of producing, directing and starring in the film.
