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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I haven’t seen a Mark Jenkin film before (Enys Men (2022), Bait (2019)) and so I wasn’t quite prepared for the lo-fi Bolex camera vibes of Rose of Nevada.
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How many people will go along to this new film by Céline Song (Past Lives) after seeing the winsome social media promos by stars Dakota Johnson, Pedro Pascal and Chris Evans and expect a standard romcom?
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