Review: Live Forever (2020)
The final product is nothing less than an exhilarating, perky musical love letter to the victims of horror movies. The by the number by-goners, the red shirts of their genre.
October 2020
Reflections 8
This week, a so-called debate took place on the world stage. It has been described as “an old man arguing with a toddler.” Who is in charge of the world? And how do we face its pervasive neoliberalism?
Review: Grub (2019)
How difficult it is to please one’s parents is a story as old as the history of humankind. Let’s not even rewind that film or dare look into the now and at our own therapy bills
Review: The Hunt (2019)
The lack of dialogue is substituted by sound design and the music in the style of the 90s pulsating electronica, while the editing handled by Zoltan Horvath is spot on.
Review: SHHHH (2019)
Some kids are simply unbeatable in the crying department, as is the case in SHHHH, short genre drama by the Israeli director Jonathan Mordechai.
Review: Ural (2019)
The titular region in Russia, dividing Europe and Asia, is special for our narrator, since she considers a Soviet military settlement in South Ural to be her childhood home.
Review: Postpartum (2020)
Reitz’ thoughts are delivered by fast-paced narration accompanied by the illustrations by the means of equally quick simple 2D animation and the striking, pulsating electronic score in the background.
Review: Plume (2020)
Plume (Lorette Sauvet) is a circus artist, performing on trapeze and she is auditioning for a place in the biggest circus company in Paris.
