Film Festivals
My Sweet Land is a somber warning call that its events are not contained in one place or time, they are the story of humanity.
For the viewer who doesn’t mind overt imitation– Beacon, with its twists, turns, and choppy seas, may hold some interest.
They’re Here will struggle to connect to its audience, too often feeling as though it is attempting to only reach others whose experiences matches its own.
Ultimately, though the package may feel familiar, The Devil’s Bath still has cogent ideas to share.
Brats is a reminder old wounds can calcify and scab over turning into the foundation for something all the more beautiful.
From Tribeca Film Festival 2024, Soham Gadre takes a look at CHAMPIONS OF THE GOLDEN VALLEY, BAM BAM: THE SISTER NANCY STORY & THE WEEKEND!
The overall effect is an icky jumble, at once anesthetizing and agitating, languorous and frenetic, a cinematic case of acid reflux.
From Cannes Film Festival Wilson Kwong reviews Payal Kapadia’s Grand Prix winning All We Imagine as Light and Rúnar Rúnarsson’s When the Light Breaks.
From Cannes Film Festival, Wilson Kwong reviews
Magnus von Horn’s The Girl with the Needle and Agathe Riedinger’s Wild Diamond.
Jonathan Millet’s Ghost Trail and Guan Hu’s Black Dog both tackle serious subject matter with subdued restraint.
It’s truly difficult to qualify the beast of an experience that is Megalopolis, and because of that, there’s an undefinable elegance.
At Canne’s 2024, Film Inquiry reviews Quentin Dupieux’s The Second Act (Le Deuxieme Acte), and Rungano Nyoni’s On Becoming a Guinea Fowl.
Furiosa: A Mad Max Saga, is a prime example of how to craft a narrative expansion that ignites a creative spark worthy of praise.
Soham Gadre takes a look at the Museum of the Moving Image’s “First Look” Series!
In this SXSW report, we take a look at two female-driven titles: An Army of Women and We Were Dangerous.