THE SOUVENIR: PART II continues Joanna Hogg’s semi-autobiographical journey of a young woman at film school in England. This new entry develops on the first film’s themes to capture the essence of both artistic escape and being young in an England of repressed emotions.
BEYOND THE INFINITE TWO MINUTES takes a clever sci-fi concept and fully explores its limits to the edge of complexity while never losing sight of the people at the heart of this time anomaly.
WOODLANDS DARK AND DAYS BEWITCHED might not find an audience outside those already obsessed with folk horror, but it’s a real treat for those who are and, through Janisse’s strong arguments and exhaustive research, is an essential text in debates about the definition of this weird subgenre.
DEAR HACKER is a short documentary that brings together IT, philosophy, and occult esoterica to discuss the ubiquitous webcams that we point ourselves towards.
ALIEN ON STAGE revels in these images contrasting Ridley Scott’s groundbreaking sci-fi horror film with the everyday nature of suburban British amateur dramatics.
SHIVA BABY, the feature debut from director Emma Seligman, is a whirlwind of anxiety where a conflict between the personal and the familial erupts at a shiva while surrounded by relatives, community, and salmon and cream cheese bagels.
COWBOYS is a touching story about accepting who your children are, that uses the masculine norms of the cinematic depiction of cowboys to situate its discussion about gender identity and gender presentation.
COLORS OF TOBI is a beautiful and intimate documentary that says something important about the family’s potential to be a locus of support, love, and trust for LGBTIQ+ people.
DRAMARAMA is a comedy-drama about the secrets within a clique of conservative Christian theatre-kids. The film has a real truth to how it represents the drama of puritanical Christian teenagers that unfortunately makes all the characters quite annoying.
Brandon Cronenberg’s POSSESSOR offers a glimpse into a same psychedelic world where human bodies are mannequins and the banality of physical existence is a visceral horror.
