Dianna Agron and Paz de la Huerta in Bare, directed by Natalia Leite. FilmDoo review: profoundly absorbent to the spontaneous pleasures and free-spirited logic of the nocturnal mind, to the point that daytime activity is virtually background noise
Review of Salute! Sun Yat-Sen, directed by Yee Chih-Yen. A heist film refreshingly free of the genre’s many tired clichés, the film carries an old-fashioned charm reminiscent of the heartfelt working class comedies of Charlie Chaplin’s tramp but, more unusually, it also retains the social awareness of those films.
Review of GOD LOVES THE FIGHTER. Directed by Damian Marcano. Trinidad and Tobago. Delivered with fierce political anger and passionate humanism, God Loves the Fighter is a cinematic firebomb flung through the window of a governmental institution. With its hallucinogenic colour filters and instinctual montaging, the hazardous streets of East Port of Spain are presented through the haze of a nightmarish fever dream that keeps its inhabitants trapped in the same destructive cycles
Review of MAMA ILLEGAL. directed by Ed Moschitz. Since the release of Mama Illegal in 2011, the world’s migratory problems have seemed only to worsen. Furthering plight in neighbouring continents has only seen the rise in the number of people willing to tackle treacherous paths in order to find a better life in Western Europe’s powerhouses.
Review of ONE ZERO ONE. Directed by Tim Lienhard. One Zero One is a highly stylised and theatrically baroque hybrid of documentary and fiction or ‘docu-fiction’ that focuses on the fascinating relationship between the irreverent drag double act, Cyber Sissy and BayB Jane.
Review of PERNICIOUS. Directed by James Cullen Bressac. Pernicious, the devilish new horror film from James Cullen Bressack, is a picture that looks to have been built from the visuals up, making it first and foremost a rush of the senses. Taking advantage of its vibrant Thai setting (a refreshingly rare environment for American ghost stories), the film has an attractive palette of greens, browns and golds which it uses as the backdrop for some vivid displays of carnage that could even have…
Review of ELENA. Directed by Andrey Zvyaginstev. You hear the crow before you see it. Bare tree branches criss-cross the foreground. The crow’s dry moan rings out. It feels cold. The frame does not move, but very slowly, the focus shifts. The crow twitches its head. We pass through the branches towards the apartment in the background.
Review of See You Next Tuesday. Directed by Drew Tobia. The whole sub-genre of Mumblecore is one now firmly established within cinema. Essentially comprising of a low budget, lo-fi approach and typically shot in a highly naturalistic style, See You Next Tuesday is very much in this same vein.
Review of WHAT'S LEFT OF US. Directed by Christoph Bell. Eyelashes. The most luscious I’ve ever seen. This is what will stay with me from Christopher Behl’s 2013 zombie-drama What’s Left of Us. Every time (and there were many) the camera lingered in meaningful close-ups, my gaze could focus on nothing else but that dark, dense curtain framing her eyes.
Review of THE WALLACE LINE. Directed Franz Müller. A correct subtitle for this movie could be “Anatomy of a Love Story”. The film is about two very different people, Robert (Àlex Brendemühl) and Maren (Marie-Lou Sellem), who meet through a chat room and begin to see each other and then surrender to the desire of having a family and move in together.