Review: The Kites (2020)
Hosseini tries and succeeds to penetrate deep into the consequences of one of the bloodiest conflicts of the 20th century that are still colouring the lives of the people on the both sides of the border.
Marko Stojiljković
About Marko Stojiljković
Posts by Marko Stojiljković:
Review: The Visit (2020)
Montenegro is often portrayed as a patriarchal, macho society where being gay is regarded as an embarrassment for himself and his family, but Vojvodić and his co-writer Maja Todorović are taking a step further to expose the gerantocracy and the oppression that the elders impose on the younger generations as the core of the problem.
Review: Summer Fasting (2020)
Joyful and light-hearted, Summer Fasting is a perfect summer short film. The tempo is vivid, but it never feels forced, while Ziane takes an occasional breather to let the audience reflect about the things in the front (the friendship expressed through solidarity and fooling around together) and in the background (how it feels to be coming from the working class, or Muslim background, or both, in contemporary France)
Review: Soon It Will Be Dark (2020)
Shot in São Tomé and Príncipe, a small island country off the coast of Central Africa, this Berlin-based production is clearly focused on the anthropological observations of life and work, but without the post-colonial sensationalism and overt exoticism. The film premiered at the new Flash competition of FID Marseille.
Review: Sweat (2020)
The influences Brès looks up to are numerous and pretty clear to identify, from nature-themed to observational school of documentary filmmaking, with a dash of attraction of the fiction films.
Review: The Sun and the Looking Glass (2020)
The trouble with the long titles, especially when accompanied with even longer subtitles, is that they reveal too much of the film’s content. Well, almost the entire content… This is certainly the case with The Sun and the Looking Glass – for one easily forgets but the tree remembers by the Brussels-based multidisciplinary French artist Miléna Desse.
Review: Voin (2020)
The documentary starts as a series of interviews, with Voin and his parents, occasionally cut with some of the 8mm home movies from the decades ago. But as the runtime progresses, the memories become more diverse, the footage is more and more distorted and the lines between the past and present, memories and the reality, gets blurrier and blurrier
Review: A Peaceful Divorce (2020)
Sidi Wang is a Chinese filmmaker living and working in Beijing and Austin, Texas. The quarantine order got her while she was in China, living with her mother, brother and step-father during the day and spending her nights in Skype talks with her father, whom she missed.
Review: See You In My Dreams (2020)
As complicated and as random as it seems, there is a clear method: the footage itself is in its technical aspects and “home movie” style (hand-held filming, abrupt cuts) is a nod to the times in the past, but are also debunking the thesis that everything was easier and simpler back then.
