Sweden
Tarkovsky’s work redefined how the language of cinema can be used to tell stories, especially with The Sacrifice.
From Cannes Film Festival, Wilson Kwong reviews
Magnus von Horn’s The Girl with the Needle and Agathe Riedinger’s Wild Diamond.
Despite the prestige of those involved in the project, Hilma is far too ordinary a film to do justice to such an extraordinary subject.
The London Film Festival rolls on. Our latest review round-up covers stories of real life…
In our first report from the 2022 Heartland International FilmFestival we give you a taste of the festival!
While most are probably familiar with The Square & Force Majeure, his most provocative, and ingenious work was his overlooked 2011 film Play.
Once you remove the explicit content, there’s not that much about Pleasure that is truly revolutionary, or even rebellious.
In our latest report from Sundance Film Festival 2022, Wilson Kwong reviews Fresh and Worst Person in the World – both films demanding attention.
Featuring an understated performance from Tim Roth, Sundown forces audiences to reevaluate all of our assumptions about him and his unconventional choices.
For a first-time director, Kempff had a very stylistically sharp vision for Knocking which is bogged down by an overly meandering tone.
You’ll definitely laugh, and you might cry, too; whatever the case may be, you’re guaranteed to be moved by Trier’s empathetic storytelling.
Mia Hansen-Løve’s Bergman Island features emotionally intelligent filmmaking and a lovely central performance from Vicky Krieps.
Just like the movie-within-a-movie style Hansen-Løve uses to tell the story, her latest film is a layered, intelligent work full of reflection about art, life, and relationships.
Funhouse wants to be seen as a clever take-down of violence and reality television but does not quite hit the mark in either area.
Directed by Zaida Bergroth, Tove allows the brilliant artist and author behind the Moomins to finally take center stage herself.