international
Korean Cinema’s Golden Decade: The 1960s brings together an eclectic assortment of films covering many genres, directors, and performers.
Jonas Poher Rasmussen’s Flee uses animation as a form of therapy for both its central subject and the audience.
Even in world cinema, the stories we see on screen are largely those depicting the lives and crises of the most well-off members of each respective society – showing situations that still can largely be referred to as “first world problems” without a sense of ironic bite. It is why a film like Dheepan is so urgently needed in the current, self-centred socio-political climate. It firmly puts us in the shoes of characters whose stories are never told in cinema: