NIFFF 2022: Swiss Shorts close-up
The programmers of NIFFF (Neuchatel International Fantastic Film Festival) have managed to compose a fine and diverse short film programme.
Marko Stojiljković
About Marko Stojiljković
Posts by Marko Stojiljković:
Karlovy Vary review: Lynch/ Oz (2022)
Both deep and wide in its scope, masterfully composed, whip-smart, perceptive and nurturing to every cinephile, ‘Lynch/Oz’ can sometimes feel overwhelming, and even a bit too much (…)
NIFFF report: Asian shorts close-up
The focus on Asia that dominated this year’s (and also the last few years’) NIFFF also reflected in the selection of shorts, where the short films from Asia got their own slot. The most notable difference between the Asian, the international and the Swiss shorts programmes is that the Asian one is, well, the most […]
Karlovy Vary review: Another Spring (2022)
Neither Kovačević nor Radovanović preach in ‘Another Spring’, but having Radovanović, an open and vocal critic of the current Serbian régime and the way it handled the pandemic, is certainly a political statement.
Sheffield review: Karaoke Paradise (2022)
The fact is that ‘Karaoke Paradise’ seems a little bit all over the place, especially in its elevated tempo, but there is a sense of rhythm and structure to it, so it works almost like a perfect karaoke song.
Karlovy Vary review: My Love Affair With Marriage (2022)
‘My Love Affair with Marriage’ is an animated film aimed at adult audiences, interestingly envisioned and told well enough to keep us occupied almost until the very end.
Karlovy Vary review: Mariuopolis 2 (2022)
‘Mariupolis 2’ might nor be the strongest testament of Kvaderavičius’ filmmaking, but it is a testament of his humanity and the strength of his belief in his mission, and it also is a devastating testimony of the dark times we live in.
Review: A Bunch of Amateurs (2022)
‘A Bunch of Amateurs’ a heart-warming group portrait of a very special bunch laced with the typically dry, but actually well-meaning English humour.
Review: Will My Parents Come to See Me (2022)
The first impression of this slow-burner might be a bit misleading, due to the filmmaker’s and his cinematographer choices of usually long static, mid-to-long distance takes from lower racourses and “Dutch” angles.
