Winterthur review: Three Songs For Benazir (2021)
The camera work is un-interventional, silent and attentive, and it is less of a fly-on-the-wall than the dirt-hits-the-fan feeling we are witnessing as the film progresses.
February 2022
Winterthur review: All the Crows in the World (2021)
Smart, bold and inventive in its blend of different thropes, All Crows in The World delivers on all fronts.
Pawel Lozinski: “The Balcony Movie’ was a kind of casting/ soul-searching process.”
Pawel Lozinski appologizes for being slightly late. He’s out of breath, explaining that the traffic in Warsaw is impossible at the moment, and that the city almost feels like being in the state of war. “We have approximately 200000 refugees in the capital only, and about 2 million in the country. Let me put it […]
Berlinale review: Trap (2022)
If hardcore partying and police brutality isn’t enough to show the travails of modern Russian youth, Veber chucks in Olympic training rituals too
Berlinale review: Memories From The Eastern Front (2022)
It’s a past that many in the official government don’t want to dwell upon. It’s a past that Jude insists that they must never forget.
Berlinale review: Mutzenbacher (2022)
Ironically, by only employing men in her movie, Beckermann, who speaks but remains firmly off-camera, creates a genuinely feminist movie.
Berlinale review: It’s Raining Frogs Outside (2021)
“It’s Raining Frogs Outside” is an outstanding, dark drama done with an impressive know-how.
Thierry Demaizière & Alban Teurlai: “The kids are so used to the cameras that ours was just one more”
Documentaries expose the truth, and the nuances that they can convey are so much stronger than any performance delivered by an actor.
Berlinale review: Four Nights (2021) by Deepak Rauniyar
The script is jointly written by Magrati and Rauniyar and inspired by their own trials.
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