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Like a sweet, golden, flaky pastry served with a bitter coffee, Maryam Touzani’s Adam is full of warmth, sorrow and satisfaction. Continue reading
Adam (2019)
StandardThe Lodge (2019)
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Austrian directors Severin Fiala and Veronika Franz have crafted a frosty and compelling suspense with horror overtones. It surpasses Hereditary (2018) with its eery themes of rural isolation and family dysfunction. Continue reading
Dark Place (2019)
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Dark Place is an anthology of short, horror films by Australian Indigenous filmmakers and it’s an indictment of Australia that they don’t need to exaggerate reality much for it to be horror. Continue reading
Dudes (1987)
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The 80s weren’t a great time for female characters in teen cinema. Continue reading
Daffodils (2019)
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I was primed for this New Zealand musical as a line of Maori singers serenaded the queue as we waited and they walked into the cinema. I was a tad disappointed when I realised they were there for For My Father’s Kingdom in Kino 1 and Daffodils was going to be a bit more pakeha. Continue reading
We Are Little Zombies (Wî â Ritoru Zonbîzu) (2019)
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Told in a Wes Anderson-esque tableau style, Makoto Nagahisa’s We Are Little Zombies is a visual onslaught that frames childhood grief as a computer game, with avatars, quests, save points and perhaps even a chance of a game reset. Continue reading
His Lost Name (Yoake) (2018)
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This understated and enigmatic drama by Nanako Hirose is surprisingly meditative and captivating, although occasionally frustrating and ultimately unsatisfying. Continue reading
