IFFR review: 80 000 years (2021)
Christelle Lheureux uses split screen to put the segments of Céline’s days in a constantly running dialogue.
Marina D. Richter
About Marina D. Richter
Posts by Marina D. Richter:
Sundance review: Like The Ones I Used to Know (2021)
Penned by the director Annie St-Pierre, the script of Like the Ones I Used to Know which has just world-premiered at Sundance Film Festival, brings the nostalgia of the 1980s that serves as a backdrop for a charming coming-of-age drama full of laughter (and tears), song and cigarette smoke.
Review: Alive (2020)
The writer/ director Jimmy Olsson manages quite well to unmask the hypocrisy of well-meant actions that easily turn into a patronizing fiasco
EXCLUSIVE: Trailer for Annie St-Pierre’s short drama “Like The Ones I Used to Know” (2021)
We present an exclusive first look at the trailer of Annie St-Pierre’s short drama ‘Like The Ones I Used to Know‘ that awaits its world premiere in the 2021 Sundance Film Festival Short Film program on January 28th. Ahead of Sundance where it will be screened in the festival’s 1st digital edition, and should the […]
Review: Sunless Shadows (2019)
Most of the stories are heart-breaking and sobering in pointing at the lack of any kind of support for victims of violence, leaving the Iranian women with endurance as the only option.
Review: Shirley Temple (2018)
A notch above a typical coming of age film, Shirley Temple aims at exploring emotional bonding between women of same and different generations.
Review: Divinations (2019)
Children from Antwerp, Athens and Sarajevo were asked to interprete the fragments of their towns caught on the sticky surface of the rolls of transparent tapes they rolled on the surfaces of just anything they found interesting.
Review: Mutts (2019)
Dialogue free and focused on (some of) 750 dogs sheltered in ‘Le Cœur sur la Patte’ sanctuary in Agadir (Morocco), Mutts almost doesn’t feel like a documentary regarding the way it was approached cinematographically.
Give me back my baby elephant!
I do admit that having “a semi-clothed” face in the cinema wasn’t something I immediately embraced mentally, although I did physically. It took me a while not to pay attention to it and fully concentrate on the film I was watching.
