Review: Mother’s (2019)
A group of drag artists is getting ready for the show. The men are applying their make-up and having casual conversations with one another.
A group of drag artists is getting ready for the show. The men are applying their make-up and having casual conversations with one another.
An anthropomorphic steam train runs on its legs as fast as it can over the tracks, until it suddenly falls into a pool of oil
Black and White Colours deftly defies the genre borders, fluidly balancing between the comedy, drama and horror. Golub’s sense of style is inch-perfect, channelling that of a 70s television with 4:3 aspect ratio and highly saturated colours.
Francisco Fernández Andrew’s Smile that has just competed at Ca’Foscari Short Film Festival is a comedy blended with different sub-genres of crime-, action-, and thriller movies.
Xiuzhen has to make a difficult choice whether to tamper with priority lists and endanger someone else’s life so she could save her daughter’s…
The writer/director Shoki Lin aims, rightfully so, at contrasts between the worlds of the children and the adults. The feeling is amplified by characterizing Adam as a quiet boy in a busy, loud city like Singapore, which is highlighted by a sound scheme full of city murmur.
Ornaf opens way too many topics to explore over the course of the runtime, making the whole film cryptic and oddly muted in communicating its significance to the audience.
Maghout and his small team have created the uniquely unpleasant feeling of being lost and suffering without even a notch of exploitation of their characters.
The Ink Doesn’t Dry seems both old-timey and contemporary. Its stark black and white colour scheme serves as a nod to the modernist tendencies of the late 50s and early 60s, especially when combined with different types of hand-held shots and the notion of rawness in the editing department.
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