2020
For its high-concept presentation, The Wanting Mare is not a very demanding picture but more of an invitation to a unique passion.
A collection of six short films by Black directors, Our Right to Gaze challenges what has been pervasive since the inception of Hollywood: the “White Gaze.”
Directed by Zaida Bergroth, Tove allows the brilliant artist and author behind the Moomins to finally take center stage herself.
It mostly delivers on the thrills and kills, providing enough of a jolt of energy to satisfy genre fans.
Mohammad Rasoulof’s There is No Evil is an excellent and riveting drama with a few divets holding it from perfection.
The potential with this was promising, and yet they couldn’t quite make it work.
Despite its immense charm in its animation, music and characters, there are vital story elements in Arlo the Alligator Boy that are lacking.
John Calucci and Brandon LaGanke’s 2020 comedy Drunk Bus is unconventional, funny, and poignant from start to finish.
Sky Hopinka’s film “małni: towards the ocean, towards the shore” is a meditative experimental film rooted in Chinook mythology and tradition.
Walkaway Joe seems like little more than a run-of-the-mill kitchen sink drama with a nine-ball angle. But Wright’s film is remarkably poignant.
The Man in the Hat is a whimsical and playful film told through the mostly dialogue-free journey of a man played wonderfully by Ciarán Hinds.
In the film’s approach to try depicting its scandalous central relationship as naturally occurring as possible, Wet Season sacrifices narrative or emotional thrust.
Robert Machoian’s The Killing of Two Lovers is an upcoming marriage drama starring Clayne Crawford, Sepideh Moafi, and Chris Coy.
The documentary as a whole is a brilliant lesson in ecology, humanity, and finding better ways to live comfortably without taking more than you give back.
In spite of some reservations, and though it certainly demands patience, Hopper/Welles remains a treasure trove worthy of exploration.