Hungary

Sheffield Doc/Fest 10: A WOMAN CAPTURED: Astonishing Access Into Life Of A Slave (& Interview With Filmmaker Bernadett Tuza-Ritter)
Sheffield Doc/Fest 10: A WOMAN CAPTURED: Astonishing Access Into Life Of A Slave (& Interview With Director Bernadett Tuza-Ritter)

A Woman Captured is a haunting insight into the life of a modern slave; we were also able to talk with filmmaker Bernadett Tuza-Ritter about her experiences making the film.

SXSW Review: FIELD GUIDE TO EVIL: Loses Its Way, But Still Has Fun
SXSW Review: FIELD GUIDE TO EVIL: Loses Its Way, But Still Has Fun

Field Guide to Evil will likely please genre aficionados and horror buffs, but on the whole, its lack of tonal cohesion will leave others underwhelmed.

ON BODY AND SOUL: A Most Peculiar Love Story
ON BODY AND SOUL: A Most Peculiar Love Story

The Golden Bear winning, Oscar nominated On Body and Soul is one of the most bizarre love stories in recent memory. It’s a treat for adventurous viewers.

JUPITER'S MOON: Muddled Messiah Tale Has Its Moments
JUPITER’S MOON: Muddled Messiah Tale Has Its Moments

A frenetic, fantastical but frustrating piece of work, Jupiter’s Moon will be remembered not for its rather woolly handling of serious subject matter, but for a couple of excellent performances, and the stunning images and sequences.

SON OF SAUL: One Of The Most Outstanding Debuts In Recent Memory

Many filmmakers have made movies about the Holocaust, yet so few are able to portray the atrocities without either becoming exploitative by staging fictionalised versions of some of the worst scenes in recorded history, or by sanitising the events in order to ensure that audiences aren’t left shocked and devastated. Austrian director Michael Haneke has frequently gone on record to claim that the idea of making a film about the holocaust is “unspeakable”, criticising the way a movie like Schindler’s List emotionally manipulates the audience when the subject matter alone should leave every sane person feeling depressed that something like this happened in recent history. Haneke argues that Steven Spielberg staging a sequence where concentration camp prisoners are marched to the shower and then building suspense from whether or not water will come out of the shower heads is the most offensive kind of exploitation; it trivialises a shocking moment of history in order to create nothing more than an action set piece.