Despite the real-life resolution to the case, DARK WATERS is not a triumphalist film and goes to great lengths to show its story is merely a battle in an overwhelming war. Jim Ross reviews.
A visually stunning first feature from director Fernanda Valadez, SIN SEÑAS PARTICULARES is a beautifully shot story of a maternal odyssey of loss. Jim Ross reviews the 2020 Sundance selection.
A sprawling and ambitious project involving nine female filmmakers from the South Pacific region, VAI is a superb achievement. The film manages to communicate the essence of common experiences whilst retaining cultural specificity. That the collection achieves this with a visual vibrancy and tonal coherence makes it all the more remarkable. The film’s team describe … Continue reading Vai
With a delicate and naturalistic performance at the centre from Andrea Riseborough, Zeina Durra’s LUXOR succeeds at painting a portrait of one of life’s pauses for thought; one of the strange stasis and emotions that develop when contemplating one’s life in a once-familiar place. Jim Ross reviews the Sundance selection.
There are strong ecclesiastical tones to Lemohang Jeremiah Mosese’s film which give it a melancholic beauty through which to ponder the intersections of identity, being alive, and community. Jim Ross reviews.
By the time the CUTIES concludes, it feels as though Amy may not be the only one who has begun to find balance and feel elevated as a result – director Maïmouna Doucouré maybe has also. Jim Ross reviews the Sundance premiere.
QUEEN & SLIM is a powerful and visually rich story that gets much more right than it does wrong and one upon which Melina Matsoukas has built a beautiful and varied set of visuals. Jim Ross reviews.
A BEAUTIFUL DAY IN THE NEIGHBORHOOD provides a nostalgic window on how to process emotion, the power of forgiveness, and the complicated interior lives of those we share emotional space with.
WAVES is a film shot and choreographed with style. However, its attempts to also add depth fail and result in a transparent surface layer of appropriated trauma. Jim Ross reviews.
Although 1917’s engagement levels can dip between set pieces, the skill of Mendes’ collaborators elevates it to something a little more than the marketing hooks would imply, even if technical prowess still dominates the emotions of the characters. Jim Ross reviews.