Review: Irradiated (2020)
The picture is being projected on three horizontally aligned boxy, 4:3 screens simultaneously, making the film’s aspect ratio extremely wide, 4:1.
Marko Stojiljković
About Marko Stojiljković
Posts by Marko Stojiljković:
Review: The Exit of the Trains (2020)
There is no doubt that The Exit of the Trains is a significant work, but the question that arises is what part of it could be considered cinema.
Review: Uppercase Print (2020)
Radu Jude has earned his reputation as one of the loudest critics of the official stance Romania takes about the country’s crimes in the past.
Review: Paola Makes a Wish (2019)
Just like a good meal starts with an appetizer, a good sexual intercourse starts with a foreplay. The food tastes more and more intense during the main course, and the tactile component intensifies during the intercourse itself.
Review: The Earth Is Blue as an Orange (2020), by Iryna Tsilyk
Every war is different, but all wars are somehow alike. That paradox is rarely a primary topic, but can be read between the lines of a multitude of war-themed documentaries that usually follow the same pattern.
Review: Mother (2019), by Kristof Bilsen
The Belgian documentarist Kristof Bilsen tackles a multitude of dualities in his newest feature-length work Mother. The film deals with topics of sickness and health, caring and being cared for, East and West, parents and children and is centered around a nursing home in North Thailand
Film Review: The Birthmark (2019), by Pia Ilonka Schenk Jensen and Bernhard Hetzenauer
Consuelo Salas narrates her testimony about her daughter’s disappearance and death in a calm and collected fashion in the short documentary The Birthmark directed by Pia Ilonka Schenk Jensen and Bernhard Hetzenauer.
Review: The Wedding Cake (2020), by Monica Mazzitelli
The winner of the RVK Feminist Film Festival’s International Sister competition is The Wedding Cake, a very peculiar animated short film written and directed by Monica Mazzitelli.
Review: Islandia (2018), by Eydís Eir Brynju-Björnsdóttir
Unfortunately, Islandia is a true story. The title card in the end of the film, just before the closing credits, informs us that its writer-director Eydís Eir Brynju-Björnsdóttir was raped by the employee of the hotel where she was staying in Antalya, Turkey and, while reporting the crime, charged for vandalism. She spent some time […]
