drama
Afterimage is the swan song of legendary director Andrzej Wajda, depicting the artist Władysław Strzemiński during Stalinist-era Poland.
The Immortal Life of Henrietta Lacks tells the story of Henrietta Lacks, whose cells helped to give birth to modern bio-medicine.
In the Shadow of Iris has inklings of greatness, but it suffers from a muddled plot and some questionable casting and production choices.
The Dinner might have attempted to do too much with its source material, but Steve Coogan is phenomenal, in one of his best roles to date.
Andrei Tarkovsky’s Stalker is ripe with philosophical connotations; here, we discuss some of the film’s more prominent ideas.
Streamer is a tense, intimate and at times stunning feature that ultimately derails in its very final moments.
Despite bringing to life some previously unseen perspectives on the holocaust, The Zookeeper’s Wife is far from faultless.
Yellow Fever wants to be an important film about Asian identity, however it falters and falls back on tired Hollywood plots and stereotypes.
Film to some is much more than a hobby, but a lifestyle. Sometimes it can…
Small Crimes’s script fails to capture the continuity of Zeltserman’s novel, and Katz doesn’t make the transition any smoother at the helm.
Silver Skies shows us how full of love, passion, friendship and fun the lives of the elderly are, and how we can learn from this depiction.
Tracktown, by Alexi Pappas and Jeremey Teicher, is a cutesy, generic, unfunny indie film, with an array of underdeveloped themes.
A Woman’s Life shows the hardships women endure throughout their lives relentlessly and without optimism, and is depressing as a result.
One of the true auteurs of cinema working today, Wes Anderson has become distinguished for his uniquely visual, quirky character-driven films.
We take a look at Chantal Akerman’s Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles, which deals with the mundane in a truly unique way.