drama
For this Queerly Ever After, Amanda Jane Stern takes a look at the 1996 film: Different for Girls.
Shadows is a snapshot of a long gone period, embracing the brash and unfiltered attitude of its era by refusing to omit its mistakes.
Jim Dixon spoke with director Ansel Faraj about his film Loon Lake, blaspheming, and burning down the church in the rain.
The unfortunate thing about Beasts Clawing at Straws is that it tries to force entertainment through shock value instead of investing in the characters.
The Dry has just enough mystery and intrigue lingering at every begrimed frame to keep the audiences invested.
Trained focuses on a unique idea but never seems to spring up or explore what’s beneath the surface of it’s chosen gimmick.
Saving Face is a beautifully crafted movie about the fight between family tradition and finding a new way for yourself.
The Midnight Sky is another example of something that could’ve been a complex and emotionally affecting work of science-fiction, but quickly collapses.
Suffice it to say, this is not a terrible film, but White Lie comes off as an underbaked drama with a paper-thin conclusion.
Enfant Terrible, Oskar Roehler’s filmic biography of Rainer Werner Fassbinder, intertwines this political manifesto with its subject’s personal life.
In 2003, Taiwanese auteur Tsai Ming-liang released his masterful ode to the magic of movie theaters, Goodbye, Dragon Inn.
Kirsten Johnson’s film is a wonderful testament to both her aging father and the importance of treasuring the people we love most in life.
I’m Your Woman, the fourth feature film directed by Julia Hart, offers some unique twists on the ‘70s crime thriller.
Despite its many strengths and successes, Education was the only Small Axe film that left me wanting more.
As it is, The Stand, has some great direction and acting, even if some of the time management isn’t on point.