A below-par effort by one of Israel’s established directors whose somewhat controversial film about a family trapped by a military lockdown of an Arab town in Israel has a great premise but suffers from an uninteresting execution.
Continue reading →
A below-par effort by one of Israel’s established directors whose somewhat controversial film about a family trapped by a military lockdown of an Arab town in Israel has a great premise but suffers from an uninteresting execution.
Movies about children with hidden powers are not a new thing, but in this Norwegian psychological drama with a terrific sound design, writer-director Vogt has created an unsettling portrait of childhood as the thin line between good and evil is explored.
Kuosmanen’s wintry sophomore feature will satisfy patient viewers looking for a rewarding road trip (on tracks) as a disheartened Finnish woman acquaints with a feisty Russian man whilst travelling on a train from Moscow to Murmansk.
This politically stirring and at times truly heartbreaking Golden Horse-winning documentary gives us that intense journalistic, on the ground experience of the 2019 Hong Kong protests from start to end.
Animated documentaries may be few and far between, but this is an affecting work that skilfully details an Afghan refugee’s harrowing life story fleeing from war and conflict, and more introspectively, from himself.
A mid-tier Almodovar as he weaves a story of mothers and babies against a dark national history—it doesn’t always find a sure footing in terms of tone and theme, but the indelible performances and the auteur’s knack for creating suspense out of melodrama do help.
Structured like a diptych, Hong’s work here is more meditative than usual as his protagonist tries to find the grace and psychological clarity that have eluded her all her life.
A romance drama that is also a comedy and an elegy, Trier’s introspective new film has an understated, layered quality—and some cinematic tricks up its sleeves— exploring what this era’s ennui among millennials might feel like.
Kristen Stewart gives a top-tier performance of quiet rage as the tormented Princess Diana in this journey down a psychological hellhole that is as formally-crafted a film as you’ll see this year.
Exciting yet elusive, violent yet convoluted, this Locarno Golden Leopard winner is a strange beast of ideas, tropes and moods.