Review: The Tent (2019)
The classical, evergreen idea about the family resentments resurfacing in the moment of crisis is matched with Figenschau’s sure-handed execution
Marko Stojiljković
About Marko Stojiljković
Posts by Marko Stojiljković:
Review: Oslo (2019)
Composed of longer takes by static camera, so all of them feel almost like real-time, and filmed on 35 mm stock, Oslo is a marvel to look at.
Review: A Loss of Something Ever Felt (2020)
It is a rare occasion that a documentary captures the tension of a crime thriller and the intensity of the emotions running within a family.
Review: Midnight Family (2019)
In his second feature-length documentary Midnight Family, the American filmmaker of the young generation Luke Lorentzen takes us to the streets of Mexico City where the Ochoa family that operates an ambulance.
Review: Two Bodies on a Beach (2019)
At first, there are not two bodies on the beach. There is just one, a body of a young woman (Laura Birn) in underwear, fishnet stockings and high heels wrapped up in nylon, suggesting that she is a femicide victim.
Review: Smiles (2019)
The basic story might be a bit of a template, but Chavanel does his best to elevate it into something completely organic, insightful and shocking towards the end
Review: Moment (2019)
Geoffrey Uloth’s Moment is a bit of a phenomenon in the terms of success on the festivals nationally (Fantasia, Toronto After Dark) and internationally (BIFFF, SPIFF) with a tally of dozens of awards and nominations.
Review: Mannequins (2020)
As the title suggests, the film takes place in a boutique, but the viewer should not expect some “haute couture”.
Review: Plainsong (2019)
Shown at Little Nightmares sidebar of HÖFF, Alexis Fortier-Gauthier’s exquisite short film Plainsong could cause some serious nightmares.
