2010s
Film Title Poem, a 67-minute experimental traversal of film history, both canonical and personal, entirely by way of title cards.
While it had the potential to have been an interesting film, Say Yes is hampered down by heavy-handed plot contrivances.
For the stunning animation alone, it is worth watching, but don’t be surprised if you find yourself drowning in the film’s strange, surreal story.
From the Sarajevo Film Festival, Monique Vigneault spoke with director Martin Turk about his film Don’t Forget to Breath.
Frances Maurer spoke with Chyna Robinson, fresh out of her festival circuit, about her latest film No Ordinary Love.
Matthias & Maxime, Xavier Dolan’s most open and tender film to date, sees him reclaiming his wunderkind status as a director once again.
In our latest report from the Sheffield Doc/Fest 2020, Musanna Ahmed looks at Please Hold the Line and The Viewing Booth.
While the energy soars, I Am Woman is certainly neither the greatest musical biopic nor the most intriguing account of a musician.
A very human story everyone can relate to, Nail in the Coffin is a strong, documentary with a very big heart and a very bloody mouth.
Entwined, from director Minos Nikolakakis, succeeds in its story, a slow burn that is hypnotizing, peeking the interest of its viewers.
MUBI is currently hosting a mini-retrospective highlighting four of her features, including A Woman’s Revenge (2012) and The Portuguese Woman (2018).
Overall, Blood Vessel isn’t going to change horror forever, but it is entertaining, especially the first hour.
A Night of Horror: Nightmare Radio is a horror anthology curated by Nicolás Onetti and Luciano Onetti. The film consists of horror shorts made between 2012 and 2017.
Japanese master filmmaker Nobuhiko Obayashi’s final movie Labyrinth of Cinema is a love-song to movies and a reckoning with Japanese history.
Matteo Garrone’s latest fantasy Pinocchio offers a more realistic portrayal of the classic tale that still incorporates some escapist fantasy elements