Nataša Urban opens her film with a grainy, boxy black and white shot of an eclipse, and a narration from a letter she has probably written to herself stating the ambition to explore and potentially explain the downfall of Yugoslavia and the events of the 90s marked by a series of wars in the former Yugoslav republics, from her personal and her family’s and friends’ point of view.
Questlove’s approach is wider than relegating the material simply to the grade of a forgotten, then found “candy”, as he tries to explore the complete context of the event and how it never made it to the level of the American collective memory.
‘Flee’ is an extraordinary piece of filmmaking and a deeply sincere and moving complex story told in a respectful and astonishing manner.
Life of Crime 1984-2020 premiered at last year’s edition of Venice and had a brief festival tour before landing on HBO.
For the purpose of the documentary Footnote, it seems that Yang Zhengfan has picked up a neutral position in order to understand the very nature of the police work and to contribute to the debate with his findings.
Contrary to the protagonist’s elusive spirit, Géza is a very firm film, and that very contrast is beautiful.
All the characters featured in the film share their own experiences growing up and living as “the others” in America that is not the most welcoming and tolerant place, and their visions about how to make things better.
At first, there is no river. Heck, there is no sound either. All we get to see is a surveillance-type of camera footage, observing one of the downtown streets.
Key thing for Looking for Horses are its subtle imperfections that found their way into the film: some hasty camera movements, some shots from way too close-up, the loss of focus.
