Review: The Pageant (2020)
The Pageant follows the preparations for the 2016 edition of the Haifa-based beauty contest Miss Holocaust Survivor.
May 2020
Review: Two Bodies on a Beach (2019)
At first, there are not two bodies on the beach. There is just one, a body of a young woman (Laura Birn) in underwear, fishnet stockings and high heels wrapped up in nylon, suggesting that she is a femicide victim.
Review: Scheme Birds
An emotionally raw depiction of working-class life in contemporary Scotland, Scheme Birds could easily have been just another depressingly drab slab of critic-friendly misery porn.
Review: Snowflakes (2019)
Infringing on people’s rights, making them unjust subjects – these are not only the tunes of modern-day immigration law, but they also wind their way repeatedly through the scriptures of the old testament.
Review: Smiles (2019)
The basic story might be a bit of a template, but Chavanel does his best to elevate it into something completely organic, insightful and shocking towards the end
Review: Rave (2019)
In his debut, Johannes Magnus Aule turns Beethovens “Symphony N°9” into a wild drug-fuelled rave party, with an endless wave of arms swaying to its rythm.
Review: Prayer for a Lost Mitten (2020)
Director Jean-François Lesage uses duration in a way that ensures that atmosphere prevails over concept, and that we are lastingly absorbed in the fabric of his monochrome reverie
Review: Moment (2019)
Geoffrey Uloth’s Moment is a bit of a phenomenon in the terms of success on the festivals nationally (Fantasia, Toronto After Dark) and internationally (BIFFF, SPIFF) with a tally of dozens of awards and nominations.
Review: Mannequins (2020)
As the title suggests, the film takes place in a boutique, but the viewer should not expect some “haute couture”.
