Film Festivals
Measure For Measure is a worthy testimonial to the talents of a gifted screenwriter and actor who has left us too soon.
Above all, Pedro Almódovar’s latest film Pain and Glory is a semi-autobiographical trilogy and a love letter to cinema.
Monique Vigneault had the opportunity to speak with actress Nadine Labaki and director Qualid Mouaness about their latest film 1982.
Céline Sciamma’s tender masterpiece paints a portrait of visual poetry, of what happens when art intersects with love for a fragment of time.
Mirrah Foulkes’ folk tale of misogyny in the Middle Ages, Judy & Punch, is sometimes mischievous and sometimes utterly volatile, but never formulaic.
Despite excellent performances from Binoche and Deneuve, Koreeda’s The Truth is rather more conventionally dull.
John Crowley’s adaptation of The Goldfinch lets down its source material and is, above it all, limp Oscar-bait.
Katrin Gebbe’s Pelikanblut is a balance of dramatically written material and an underbelly of deliciously spooky horror.
Thoughtfully composed and steadily educational, Super Whale Highway’s reflection on the domestic duties of the humpback whale is a trip worth taking.
The King may not be Michôd’s best by any means, but with strong performances and cinematography, it’s a strong effort nonetheless.
Om det oändliga (About Endlessness) can be painfully slow at times, but it is superbly captured with a truly delightful aesthetic.
Adults In The Room is a hard sell, failing to deliver an intriguing narrative despite being about the political cunning behind the Greek financial bailout.
Equalled with terrific editing and a beautiful turn of cinematography, Revenir is a terrific boiling pot of emotional intensity.
An alluring fixture with a hefty and enlightening impactful weight, The Laundromat drowns due to an overindulgence in material and excessive narrative.
Dark and gritty, Joker is a pressure cooker of emotional abuse that is just ticking, ready to blow at every minute.