Review: Une Femme, Ma Mère (2019)
Demers unearths plenty of long-buried family secrets during his research for Une Femme, Ma Mère, but he never forgets his crucial role as a storyteller, and makes no firm claims on definitive journalistic truth.
June 2020
Reflections 1
Right now, we are all acting out the role of projectionist, operating whatever cinema-like (or not) viewing conditions we can in our various states of lockdown, all around the world.
Review: The Verdict in the Case of K. (2020)
The Verdict… has several strong points, such as portraying of the often neglected milieu of the Viennese Turkish community, their mechanisms of co-operation in the world that they often experience as foreign.
Review: For the Living (2019)
Fonsny’s film, dedicated to Adami and other immigrant victims of the Belgian police brutality, is a deft and coherent composition of its elements
Review: White Eye (2019)
Is a stolen bicycle that propels the story of the injustice in society and offers some much needed reflection to the characters and the viewers a gimmick, an homage to Vittorio de Sica’s seminal film, or an eternal metaphor?
Austrian Music Video Award goes to Rupert Höller
The winner of the Austrian Music Video Award -is Rupert Höller for his black & white, 4 minutes long video “Über Nacht” for the band Oehl
Review: Don’t Touch Anything (2019)
The rigidity of the structures imposed can backfire in the unexpected, yet devastating ways.
Review: Nine Shots (2020)
On the visual level, the film works quite well, taking the warmth of the analogue cinematography handled by Kao Tzu Hao
Review: Tide (2019)
Sometimes the destination remains unknown, but the journey is all that matters
