Review: Ouvertures (2020)
With this collective authorship of Haitian identity and the solace in spirits of the past, Henderson and Marboeuf have an ample sandbox of ideas at their disposal.
February 2020
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: White Riot (2019)
Red Saunders, near the end of the film, points out that today we are instructed to relinquish citizenship in favour of spectatorship, to sit back and be quiet while the experts make the important decisions for us.
Review: Bloody Nose, Empty Pockets (2020)
A Las Vegas bar with the nostalgic name “Roaring 20s” is about to close its doors permanently, and the owner is throwing a closing party for her regulars.
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: The Viewing Booth (2019)
“How, in your opinion, are we to prevent war?”, a London lawyer once asked British author Virginia Woolf during the height of the Spanish Civil War. She suggested observing images of war published every week.
Review: Running on Empty (2020)
Running on Empty is an intelligent and non-judgmental observational documentary, swiftly edited by Roland Stöttinger to a (figuratively speaking) circular narrative.
Review: Strike or Die (2020)
The stories are not only interconnected by the mystical fog that keeps pushing itself into the frame as human interactions fade from the screen, but also by the narrative structure that slowly starts to converge.
Review: Saudi Runaway (2020)
Susanne Regina Meures’ Saudi Runway opens with thoughts expressed by a young Saudi woman Muna who’s asking herself if Allah really wanted women to live like second-degree humans who should have no opinion.
