Alex Lines reports on the films he was able to see at the Delphi Bank 25th Greek Film Festival, which celebrates the film movement known as the Greek Weird Wave.
Kate Nash: Underestimate the Girl is an uplifting documentary that proves that even when your circumstances change for the worst, you can rise above them and come out renewed.
In The Oath, a man struggles to make it through the Thanksgiving holiday without destroying his politically divided family.
We take a look back at the seminal adventure sci-fi series Lost, examining its legacy over a decade after it started.
Private Life is a beautifully crafted study of two people who struggle to relinquish their desire to control and plan every element of their life.
Ride takes a simple premise and rides it to its logical conclusion, with enough charisma and style to remain interesting.
Helenna Santos shares how she and her team managed to make their feature film, At Your Own Risk, with just $1000.
For all its faults, U – July 22 attempts to throw the viewer into an unimaginable situation instead of passively retelling it is worth celebrating, even if it doesn’t fully achieve its immersive aim.
In our first report from Film Fest 919, Josh Martin recounts the nauseating absurdity of Dogman, memorably fascinating Destroyer and Cannes’ Palme d’Or Shoplifters.
Expelling all mental illness, Maniac blends all conceivable genres and tones, in an unmistakably difficult balancing act set in an unknown retrofuturist timeline.
The American Western is a worthy way to gaze at the past in reference to our present; seen from the early days of the genre to more recent revisionist entries.
With an infectious sense of humor and some wonderfully dynamic performances, The Favourite is a shining example of a filmmaker at the prime of his art.
With an unapologetic, feminine roar, City Of Joy takes on a wholly ignored genocide, racism, toxic masculinity and bloodthirsty greed, a rallying cry for survivors of violence and product consumers.
And thus, we arrive at the fireworks factory. After a few episodes that were more…
Gustav Möller’s The Guilty is compact but crushing single-room drama successfully secures our emotional and visceral involvement whilst quite boldly moving into some genuinely dark areas.
