Review: Regret (2020)
When combined, solitude, recent tragedy and traumas from the past can prove to be a lethal cocktail inducing an overdose of regrets, as it is the case with Santiago Meneghini’s exquisitely spooky and metaphorical short Regret.
Marko Stojiljković
About Marko Stojiljković
Posts by Marko Stojiljković:
Review: Lessons of Love (2019)
In this observational, but occasionally poetic, dream-like documentary, we meet our protagonist Jola in the breaking point of her life, when she is getting ready to leave her abusive husband Bogdan after many decades of domestic terror
Review: So What If the Goats Die (2020)
Quiet, almost muted as it is, So What If the Goats Die speaks volumes to the audience, not about the possible life with the aliens, but about the life as it is, as we know and live.
Review: Limbo (2019)
In Nalle Sjöblad’s ‘Limbo’, the light “horror” style serves its purpose to mask a straight-up social drama that lays in the centre of the plot, making it a possible programming choice for both genre-oriented and “regular” film festivals…
Review: Heat (2019)
Heat is predominantly a dark comedy, laced with the elements of body horror realized through a variety of outlandish and even cartoonish, but highly effective visual- and special make-up effects, done by Thaumar Rep and Rob Hillenbrink, respectively.
Review: Corporate Accountability (2020)
Perel’s tone is not unemotional, but it can be considered a bit flat, which is in accordance with the factual tone of the book: it mainly consists of pure facts devoid of any kind of personal interpretation.
Review: Benevolent Ba (2020)
Benevolent Ba is certainly a film that is extremely fun to watch, deliciously tense and absurd at the same time. The script economy is marvelous and the characters, even those who could serve as passers-by, are developed to a certain extent over the film’s brief runtime of just nine minutes.
Review: BBQ (2020)
Even without the musical component, BBQ works perfectly as the smoothest possible blend between the teenage social drama and the dystopian science fiction, as the writer-director Jeanne Mayer hits the right note about the hopelessness that marks the lives of the contemporary youth.
Review: We Have Boots (2020)
For Evans Chan, the filmmaker based in Hong Kong and New York, his native city serves as the bottomless well of inspiration for his fiction and documentary work. Throughout his career, from To Liv(e) (1991) on, there is a line of chronicling the changes in the Hong Kong society, stuck between two imperial forces, the British and the Chinese.
