Review: You Cannot Kill David Arquette (2020)
As with wrestling itself, it feels besides the point to wonder about how real and how staged the documentary itself is.
November 2020
Review: Soviet Friendsbook (2020)
Lead by her “anketa” and some Facebook searches, Alyona sets on the mission to track down her classmates some twenty years later to ask them the same, but also some different, “grown-up” questions.
EXCLUSIVE: Trailer for Pablo de la Chica’s short documentary “Mama” (2020)
‘Mama’ is a film about the mutual healing process of the chimpanzee babies and their carer, all of them marked by deep traumas.
Review: Latvian Coyote (2019)
As it is the case with the titular animal, the term “coyote” for a human trafficker who knows the uncharted routes over the border, originates from the Mexican-American border.
Review: Mephistopheles (2020)
Mephistopheles never really gets behind its star’s carefully cultivated image as a haughty aesthete to interrogate the philosophical beliefs, private passions and political principles beneath.
Review: The Jump (2020)
On November 23rd 1970, in the midst of the negotiations between the American and Soviet representatives regarding the fishing of the coast of New England, a Lithuanian sailor Simas Kudirka jumped from his ship Soviet Lithuania, swam across the cold Atlantic waters and boarder the US Coast Guard ship Vigilant, pleading for the political asylum only to be turned down and given back to the Soviets.
Review: Forest (2020)
The world-wide lockdown of the spring of 2020 is slowly coming to the film screens, with the shorts leading the way for the feature-length work.
Review: Carbón (2020)
In his short documentary Carbón, the Swiss director Davide Tisato shows the life of Ismael and Nivardo as the citizens of the world of the underprivileged working class.
Review: Menarche (2020)
Reaching for the combination of three myths: the one of Vagina Dentata, a folk tale according to which vaginas are equipped with teeth that can emasculate or castrate men, the water nymph Iara and the Amazon river dolphine (the shapeshifter known as encantado), in their script for Menarche Líbia Perez & Lillah Halla unite several types of all three interpretations into one.
