Oh, I feel conflicted about this documentary. I was going along with it for quite a while, even forgiving some things that didn’t quite make sense – were there no neighbours who could drop in or answer a phone call? – but a growing unease left me feeling cheated.
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This cozy Irish documentary by Gar O’Rourke (Sanatorium (2025)) about the over tourism of the Cinque Terre sits with me slightly uncomfortably as I have been one of those tourists.
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The Melbourne Film Festival is doing a strand of films by Ulrike Ottinger this year and, not knowing anything about this director, I was drawn in by this one being set largely in inner Mongolia at a time where no western directors had previously been allowed to film there.
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Sad sad sad sad. I think I knew this was going to be about queer sorrow rather than joy, although I was drawn in by the period setting and Fiona Shaw.
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Wow. This is one of those festival films that you probably wont get to see it elsewhere. It is wordless and created entirely from 1-2 second clips from fictional movies set during WWII and the Holocaust.
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What a great film! I was sure I had seen it before but I absolutely hadn’t. And what I didn’t realise was that the person who shot Andy Warhol was Valerie Solanas! I feel like a bad feminist for not putting two and two together.
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This is not The Man with the Golden Gun. I think in the back of my brain I thought that’s what I was booking, a James Bond film.
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This hooked me from the moment it showed a dramatic title card that made it clear that it was being filmed in Berlin but we should consider this was Ankara in Turkey.
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I couldn’t help but think of Honeyland (2019) while watching this slow and sparse documentary about farmers on an isolated Montenegrin mountain.
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A good solid crowd pleasing film to start off my film festival journey for 2026. It came highly recommended by my MIFF buddy Kyle, which is not always a good thing as it raises your expectations.
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