Film Festivals
First Love mixes and matches generic elements freely and playfully, making it impossible to pin down into one category.
In our latest recap from the 2019 Toronto International Film Festival, We look at the films The Truth and Uncut Gems.
Our first dispatch from LFF 2019 features reviews of And Then We Danced, System Crasher, Waiting for the Barbarians and more.
Beyond being historically significant and a truly gorgeous film, Son of the White Mare manages to connect with our most ancient arts and make them digestible for any viewer.
Looking back on “the gayest horror film ever made”, Scream Queen! My Nightmare on Elm Street is the kind of documentary you wait all year to see.
With a talented and diverse cast, chills coming from the darkest corners of television and unending potential, Evil is definitely the one to watch.
VHYES tells a poignant story about the odd agency a child can find in television, and the combination of joy and horror that, almost always, follows.
Koko-di, Koko-da is a surprising triumph, a modern fable brilliantly told and performed to expert precision.
Pablo Larraín’s Ema is certainly the most unpredictable, wild, and unconventional study of a frayed woman at this year’s TIFF.
This TIFF 2019 report focuses more on the stranger side of TIFF, including the films Color Out of Space and The Long Walk.
Brent Goldman covers Toronto International Film Festival films Honey Boy and How To Build a Girl.
In this TIFF 2019 report, David Fontana reviews four foreign films: Ordinary Love, Easy Land, August, and Dirt Music.
Although beautifully crafted, Théo Court‘s Blanco en Blanco is let down by the lack of restraint and direction.
Marriage Story is amongst Noah Baumbach’s finest works; it is sympathetic and charming, while containing some career-best performances by Scarlett Johansson and Adam Driver.
Simple Women makes for an interesting examination of false effigies and washed-up idols and one thing’s for sure, the two women in focus are most certainly anything but simple.