trauma
Joan Baez is not without her flaws and shortcomings, but the noise she made with the song of her life continues to reverberate through time and space.
Film Inquiry’s Luke Parker spoke with SXSW-winning filmmaker Megan Park about her school shooting teen drama, The Fallout.
Wilson Kwong reviews Dusty Mancinelli & Madeleine Sims-Fewer’s Violation and Tracey Deer’s Beans as part of our TIFF 2020 coverage.
I Lost My Body leaves plenty to be interpreted and discovered by its viewers, making it one of the most thought provoking animated films of the 2010s.
Writer, director, and star Haston McLaren focuses his film, A Life in August, on the quiet downfall of a relationship that has nowhere to go.
Welcome to Marwen is an unfortunately shallow endeavor, with trite dialogue and a saccahrine portrait of very serious issues.
We were able to speak with Jeffrey Wright and Vainuupo ‘A.V.’ Avegalio, who are both involved with the documentary We Are Not Done Yet.
Minding the Gap is a harrowing portrait of trauma and abuse, and a hypnotic rumination on what it means to film, be filmed, and see yourself in film. And its ending is momentous.
Maybe it’s slightly too long and loses focus on a handful of occasions, but Kingdom of Us is a vital watch, carrying a real sense of urgency.
Mike Flanagan’s Gerald’s Game, though not quite as dark as its source material, still showcases his talent for immersive horror film-making.
Elliott Lester had juicy, absorbing material to work with. Unfortunately, he turns Aftermath into an underwhelming and empty endeavor.
The Sense of an Ending is a commendable effort from both director and cast, yet its underwritten characters become lost in adaptation.
Fear Itself is a series of montages of famous horror films, though it misses out on probing just why we are fascinated by being scared.
Closet Monster is a movie that fluently balances drama and humor, but the very essence within its message is one of defiant and radical hope.
