Film Reviews
Retrocausality has a lot of pieces that could make both an interesting and philosophical character study but it is not executed well.
For this report from the virtual Sydney Film Festival 2020, we delve into thirteen of the short film finalists.
Of all the crime films to emerge from the 90s, Carl Franklin’s neo-noir masterpiece One False Move stands as one of the forgotten gems.
Liberté is sexual, it’s arousing in respects, it’s taboo in many instances, but overall, it is grotesque and repulsive.
Here is a look at the documentary finalists for the 67th edition of The Sydney Film Festival: Virtual Edition.
Spring Night, Summer Night serves as a remarkable example of why funding the preservation, restoration, and release of older films is so important.
I’m No Longer Here allows the heart to overpower technique, and resulting in a heart-warming tale of cultural identity and the lack of it.
Boaz Yakin’s Aviva is an experience not just in the crafting of relationships, but what goes on behind the scenes.
The idea of something as simple as Odd Dog being so funny, heartfelt, and poignant is refreshing on several levels.
Mr. Jones highlights the need for investigative journalism even in a world where hard evidence can be met with accusations of untruth.
The final installment of the wonderfully light The Trip series has the same offerings fans can expect, with lots of new favorable additions.
Da 5 Bloods is the first great Black Vietnam film, not just the first. It’s a movie whose modern envelope minces empathy and excitement within the unsung sacrifice of the African American soldier.
Cornel Ozies’ prescient and perceptive documentary Our Law is having its world premiere at the digital edition of this year’s Sydney Film Festival.
Continuing her revolutionary depiction of real-time, No Home Movie epitomizes every quality that made Chantal Akerman’s cinema so groundbreaking.
Ariane Labed’s Olla tells an important tale of the migration of resourceful, young, Eastern European women into Western Europe.