Cannes review: Through The Haze (2020)
While we’re given narrative hints of what’s going on, there’s a deliberate lack of cohesion. With no dialogue, we’re given snippets of incidents.
Laurence Boyce
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Cannes review: August Sky (2020)
The film never seems a paean to organised religion, more of an exploration as to why humans need something to grasp on to in a world which seems increasingly chaotic
Cannes review: Sideral (2021)
In Natal, on the Brazilian coast, the country’s first manned space rocket is preparing to launch.
Cannes review: Orthodontics (2021)
An affecting and remarkable piece of work, ‘Orthodontics’ both works as a dark evocation of teenage confusion and fear as well showcasing an outstanding voice in contemporary Iranian cinema.
Review: Horrorscope (2019)
Pol Diggler’s ‘Horrorscope’ is a bright and breezy spoof of horror movie trailers that lays bare their clichés with plenty of fast cuts, scary music and jump cuts.
Review: Squish (2020)
Aesthetically, the film plays with this well-to-do liberalism, all elegant black and white photography and judicious use of classical music on the soundtrack.
How To Die Young In Manila (2020)
‘How To Die Young In Manila’ has the sense of a fever dream, that has a tangible and heavy atmosphere yet also displays a remarkable amount of lyricism.
Review: Transparent, I am (2020)
While the realities that the film deal with are harsh and often painful, with Muraoka indulging in a self-reflection that is often brutally raw…
Review: Erwin (2020)
Erwin is one of a large amount of films that Soldat has completed in 2020 (many of which evocative titles such as For fuck’s sake, Christian, we’re making a porn film and The Wanker) and continues with the style for which he has become notorious.
