SFF 2023 REVIEW: Blue Jean
Oakley’s directing is subtle and effective, with clever use of sound and lighting to contrast the two major settings at Jean’s school and the nightclub, which are the symbolic fronts of the heteronormative and queer environments that she arbitrates between.
SFF 2023 REVIEW: Scrapper
I knew two things about the film going in: a) Harris Dickinson was in it and b) it was going to make me cry. Those two things turned out to be true.
SFF 2023 REVIEW: Kim's Video — “A lot of things used to be here, and now they are not”
Redmon and Sabin masterfully balance gravity and levity in what might be the funniest documentary I have ever seen.
SFF 2023 REVIEW: L’immensità
Set in circumstances of perpetual domestic conflict: Rape, betrayal, and family violence continually oscillate between each other, creating a profound sense of unease.
SFF 2023 REVIEW: No Bears – the camera as truth-teller
In No Bears, we are just as much aware that we are watching a film as we are of the action taking place. With knowledge of Panahi’s context, every shot feels dangerous, and you're constantly left wondering how he made it.
At the nucleus of beauty
A symbol of undying beauty, the sari is not a temporal phenomenon.
No one, not a single soul, is still mad about Tropic Thunder
After all, if there’s one thing that the left loves to do, it’s making sure that no one is allowed to enjoy a film from 15 years ago.
The Devils in the details: the outrageous story behind Space Jam: A New Legacy’s most bizarre cameo
51 years after its release, The Devils remains Warner Bros.’ dirty little secret, so how did one of its characters end up in a Looney Toons movie?
Review: Italian Film Festival 2022 — It's about family
The Italian Film Festival returned this year with a bang!
R.I.P. the midnight spook show
These more theatrical elements bridged old and new storytelling techniques, and also provided a reason for people to go to the cinema.
Nuclear war? H’uh! What is it good for?
They wade through flooded towns in gas masks and hazmat suits, unable to breath in the toxic miasma of a sepia-toned world.
Sex? In My City?
Carrie’s inner-city brownstone becomes a two-room inner west studio, and her rent increases so rapidly she must sell out to Newscorp to keep up
‘Reading the room’: Emotions of the Korean New Wave
Eye contact, physical affection and double entendre have collectively formed a shared culture of ‘reading the room’.
Review: Taiwan Film Festival 2022 — Multi-varied meditations on time, the media, and digital technologies
I never wanted those dim lights to rise.
Mamma Mia and the feminist movements
Phyllia Lloyd’s Mamma Mia (2008) is a 108 minute slice of feminist paradise.
Gotta be, VeggieTales
There’s something so magnificently anarchic about vegetables issuing advice through musical scripture sequences.
