An insubstantial musical bubble about the vagaries of love set in an 80s stage set shopping mall.
Continue readingGolden Eighties (1986)
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BlackBerry (2023)
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I lived through the rise and fall of BlackBerry but, not being an early adopter, it barely touched my life.
Continue readingTommy Guns (Nação Valente) (2023)
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Destined to confound, this sometimes surreal drama (with a touch of horror) sits in an uncomfortable space between metaphor and realism.
Continue readingRoom 999 (Chambre 999) (2023)
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A room full of filmmakers with remarkably little insight into the world outside of their bubble.
Continue readingBiosphere (2022)
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That an IMDb user gave this one star and called it “an LGBTQ+ movie disguised as a sci-fi” makes me like it even more.
Continue readingOldboy (올드보이) (2003)
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I’m not sure what I was expecting from Oldboy but I didn’t think it would be quite so hard to watch.
Continue readingLeonor Will Never Die (Ang Pagbabalik ng Kwago) (2022)
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Leonor Will Never Die takes us on a madcap ride through Filipino 80s action movies that is so meta it is like a Möbius strip.
Continue readingWhen Pomegranates Howl (2020)
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Granaz Moussavi has followed up her 2009 hit My Tehran for Sale with an intimate look at street kids in Kabul.
Continue readingHit the Road (2021)
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There’s a lot to like about this debut feature by Panah Panahi, son of Iranian legend Jafar Panahi (Three Faces, Tehran Taxi).
Continue readingUtama (2022)
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Alejandro Loayza Grisi’s impressive first feature reminded me of Aga (2018) in its often wordless depiction of indigenous peoples eking out an existence in a vast and remote plain.
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