Film Festivals
The first week of the 55th Chicago International Film Festival has come to a close, so let’s take time to recap some of the films that screened during this week.
Lost Bayou captures the personality and unique features of the bayou through its engaging story, well-developed characters, and beautiful visuals.
The NFFTY is scheduled to end on October 27, 2019, with these last seven short features: Virgencita, Green, Men Helping Women, Winner of Peace, Charley Horse, The Best is Yet to Come and Lavender.
Ahead of its presentation at the Downtown LA Film Festival, we spoke to Zenon Samuels about his short film Survive.
In his third report from the second annual Film Fest 919, Josh Martin reviews Clemency, The Aeronauts and The Two Popes.
Color Out of Space heralds Richard Stanley’s return, a man given short shrift and who has a great eye for throwback horror and truly creepy cinema.
Glass Cabin is a delectable little horror short reaching into the depths of the human mind, a mind that cannot be trusted.
In his second report from Film Fest 919, Josh Martin reviews Ford V Ferrari, Honey Boy and The Truth.
In his second report from New York’s NewFest LGBTQ, Andrew Stover reviews Cubby, Last Ferry and Second Star on the Right.
To kick off the 14th annual Toronto After Dark Film Festival, Bree Duwyn got the joy of viewing three incredible feature films with lots of heart, laughs, and adventure.
In his first report from the New York LGBTQ Film Festival, Andrew Stover reviews Sell By, Tremors and One Taxi Ride.
Coming in at just over 90 minutes with a solid pace throughout, Porno is very funny, very gross, and full of heart.
Film Inquiry’s final dispatch from LFF is here, with reviews including Pablo Larrain’s Ema and Billie Piper’s Rare Beasts.
In his first report from the San Diego International Film Festival, Tynan Yanaga covers The Irishman, Doing Money and Inside The Rain.
Our first dispatch from Film Fest 919 includes reviews of Brazil’s genre-bending Oscar entry, Trey Edward Shults’ emotional epic, and Ken Loach’s latest social drama.