drama
A contender for feel-good film of the year, De Capo follows a musician returning home, where he’s torn between his music and the kids he inspires.
The Horrific Inguiry column takes a look at the Universal Monster film Frankenstein (1931) and its legacy within film history.
My Wonderful Wanda is a fun film with moments of genuine humour and insight making make it worth the watch.
Creation Stories will appeal most to those with an interest in 90s pop culture as it is unabashedly content to revel in those memories.
What we’re given is far more surface-level than it should be, and unfortunately doesn’t add as much to the conversation as it perhaps thinks it does.
Queerly Ever After #46 analyzes 2015’s Akron, where two young men find love despite a tragedy that links their families together.
Another Earth, Mike Cahill’s sci-fi romance celebrating its tenth anniversary, is multifaceted and deeply layered.
Judas and the Black Messiah is a nuanced film that slowly peels back its layers, revealing a depth that will resonate for years to come.
Drunken Film Fest Bradford announced six short film winners that represent a passionate, multicultural, and wonderfully bizarre mélange of movies.
Doublespeak may be a short film, but it joins other recent features and dives into how a system that is supposed to protect people can fail again and again.
Wilson Kwong spoke with director and writer Ninja Thyberg about her process as a director for her film Pleasure.
Pleasure is a film that can be difficult to watch, but is so mesmerizing that it can also be hard to look away.
In her last report from Sundance Film Festival, Kristy Strouse reviews four more, very different (tonally and subject-wise), films.
Too caught up in its own inventive twist on the world, Bliss offers high concept science fiction without tying it to something meaningful.
Farah Nabulsi’s short film, The Present, captures the dehumanising and frustrating experience of living under occupation.