Review: Why Is Mom Always Crying (2019)
There are two things that are significant for Obrdalj’s film: lyricism and the feeling of authenticity.
Marko Stojiljković
About Marko Stojiljković
Posts by Marko Stojiljković:
Review: The Game (2020)
Orizzonti Corti Competition, 77th Venice Film festival Traditionally, the role of the referee in a football match is to make sure that players are following the rules of the game. That means three things: he has to know all the rules and the good practices of his craft, he always has to be close to […]
Review: The Return of Tragedy (2020)
The Return of Tragedy is, basically, an ode to the genre filmmaking of the past, with a special twist towards the trash spectre of it.
Review: Porvenir (2020)
When it comes to the talks about the Croatian diaspora in South America, the common topics seldom drift away from the statistical and demographic data and the arguments about people’s political affiliations in the times of historical turmoil.
Review: Invisible City: La materia non conta (2020)
In his film, Commault abundantly quotes D’Annunzio’s speeches and letters, transcribing them directly to the bright screen, often accompanied by the footage obtained from different film archives
Review: Our Lady’s Peace (2020)
The protagonist of Vladimir Perović’s newest documentary, Our Lady’s Peace, is not a person, but a sacral object: the Our Lady of the Rock church located on a miniature island in the middle of Boka Bay in Montenegro.
Review: Let There Be Colour (2020)
The up-and-coming and quite prolific Srebrenica-born, Rome-based filmmaker Ado Hasanović tried to capture the parade and the atmosphere building before it in Sarajevo and its rural surroundings.
Review: Merry Christmas, Yiwu (2020)
Before the industrial boom that started in the 80s, Yiwu was just an unremarkable poor town and the industry of cheap plastics disguised in Christmas motives made it into a considerably big and affluent city that draws a lot of migrant workers from nearby villages and other parts of China.
Review: Cockpera (2020)
The thing Gugić nails in her film is the connection between the theatrics of a cock fight, opera and cocky behavior of humans. We have a principal cast of a tenor and a baritone as the fighters and a soprano as “the prize” they are fighting for.
