Driveways
The beauty and necessity of humanity are expertly showcased in Andrew Ahn’s DRIVEWAYS. Sammy Andie Bennett reviews from GFF20.
Category Archives: Festival Coverage
Luz: The Flower of Evil
The world of LUZ: THE FLOWER OF EVIL, is defined by this dichotomy of good and evil, which often comes less from a place of faith and more from patriarchal madness. Scott Wilson reviews.
Our Mothers
Writer/director Cesar Diaz’s OTHER MOTHERS (NUESTRAS MADRES) is a harrowing testimony of the atrocities committed during the Guatemalan Civil War and subsequent genocide of the country’s Maya population.
The Truth
While THE TRUTH is a departure for Hirokazu Kore-eda, the tone and temperament of the film share a great deal with gentler works in the director’s filmography.
Agnes Joy
Set between the stunning Akranes and Reykjavik, AGNES JOY is full of subtle beauties, from the landscape to the emotional intelligence of the actors.
Days of the Bagnold Summer
As Simon Bird’s debut, DAYS OF THE BAGNOLD SUMMER indicates a successful career for him behind the camera as well as in front.
Valley of Souls
“You’ll need a drink afterwards” was the main takeaway from the introduction to VALLEY OF SOULS, director Nicolás Rincón Gille’s first fiction feature. Set in the Colombian countryside, it follows one man on his journey to reclaim the bodies of his two sons, killed and dumped in the river by a far-right paramilitary group. It … Continue reading Valley of Souls
The Painted Bird
Vaclav Marhoul’s new film is a raw and visceral horror – a film that shows humanity at its absolute worst in an unnamed area of Eastern Europe during World War II. Ben Woodard reviews at Glasgow Film Festival 2020.
Proxima
The production design and visual style of PROXIMA are refreshingly earth-bound and create a tangible emotional connection to the characters, even if Alice Winocour’s symbolic moments lack the subtlety that would elevate the film itself to the stars. Jim Ross reviews at Glasgow Film Festival.
Spookies
SPOOKIES, a delightfully campy American horror film, oozes low-budget charm and is the epitome of the independent horror aesthetic of the 1980s. Katie Duggan reviews.