Elegance Bratton’s PIER KIDS gives forgotten LGBTQ+ people a voice that shatters the illusion of progression and simultaneously demands society looks closer at disadvantaged LGBTQ+ youth. Steph Brown reviews.
The Dardenne brothers’ YOUNG AHMED explores the mechanisms and influences that lead to religious radicalisation, through the portrait of a young schoolboy groomed by extremist ideologies. Steph Brown reviews.
Claire Oakley’s debut feature has the power to evoke a longing to relive the cusp of adulthood, even with the growing pains we try to forget. Steph Brown reviews.
Cheryl Dunye turned 54 in May, and in further celebration it’s time to reflect on her status as a pioneer and a revolutionary figure in progressive cinema for the most marginalised, writes Steph Brown.
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.