SEEING THE UNSEEN invites us to look deeper into the struggles faced by autistic women, with a refined equilibrium of insight and empathy. Steph Brown reviews.
SUPERNOVA paints the analogy of Nietzsche’s butterfly with a stark social realism which ruptures and challenges the idea of a cosmos through a microcosm of chaos, contingency and causation. Steph Brown reviews.
MURMUR illuminates a profound human connection to the realities of alcoholism, but more so to the obstacles that obstruct our desire to change. Steph Brown reviews.
CONNECT is a refreshing addition to the cinema of truth, with surface intentions that are set to educate, humanise and battle the prognosis of debilitating mental disorders. Steph Brown reviews.
THE WORLD IS FULL OF SECRETS is an interesting debut feature and it manages to relay a whirlpool of subtle lessons within its constrained technical approach. Steph Brown reviews.
THE BEACH BUM is an interesting insight into Korine’s development as an equivocal filmmaker, and while THE BEACH BUM is more restrained than its aesthetic demands, there is a hypnotic quality that lingers into the credits. Steph Brown reviews.
Within LADYWORLD Kramer has succeeded in breaking through the walls of expressive cinema, nonconformist cinema, and in some respects feminist cinema; but the film has failed to fully break through the forth wall. Steph Brown reviews.
Xiang Zi’s poignant drama A DOG BARKING AT THE MOON digests the dyad of traditionalism and identity. Stephanie Brown reviews art SQIFF 2019.
Nicole Palo’s stamp on dark comedy is well-defined and bravely unique. Stephanie Brown reviews.
FrightFest never fails to illuminate the creative genius of the horror genre, and it also provides a glowing platform for new filmmakers. Jack McHenry may only have one feature to his name, but the aesthetic brilliance within his debut film HERE COMES HELL pays captivating tributes to the vintage eras of Hammer House, Tourneur’s Noir, … Continue reading Here Comes Hell