The manner in THE LAST BLACK MAN IN SAN FRANCISCO gently and lyrically blends that story with ideas of home, belonging, and internalised personal history transcends the boundaries of San Francisco or the Bay Area. Jim Ross reviews.
A remarkable achievement, which, without overly sensationalising what is a bleak and often repetitive situation, manages to be continuously gripping and intense.
This domestic drama-cum-horror film, both bleak and oblique, owes much of its power to the director’s attention to detail in every shot.
When political media increasingly feed on, and seek to create, mass hysteria, CALALAI: IN-BETWEENNESS is a welcome disruption to the gender identity narrative. Willa Bews reviews at SQIFF 2019.
The way that Herzog can scope out the narrative of an interview is quite something to behold, with a firm grasp on his line of questioning. Elle Haywood reviews MEETING GORBACHEV.
MARRIAGE STORY portrays truth, and with a fresh perspective. An incredibly rare find, writes Fiona Hughes.
IT MUST BE HEAVEN is Suleiman’s funniest film, the comedy laced up with his elegant, rebarbative vision.
BROTHERS is a tale of co-dependence, love, and the destruction that comes with them, writes Josh Ragan.
SECRETARIES: A LIFE FOR CINEMA shines a light on the women behind some of Italy’s most famous producers, directors and distributors.
HI, A.I. shows us that this technology has more to offer than just murderous HAL 9000s and Skynets.
