Image via miff.com.au
This absorbing and layered tale by Debra Granik (Winters Bone 2010) explores PTSD and its ramifications through the story of a father and daughter living off the grid. Continue reading
Leave No Trace (2018)
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Halloween (2018)
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Image via Universal Pictures via collider.com
This sequel in the slasher horror franchise that launched Jamie Lee Curtis’s career in the late 70s feels like a loving homage, firmly rooted in its origins albeit with better gender (but not cultural) representation. Continue reading
Colette (2018)
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Image via times.com
This thoroughly enjoyable biopic tells the story of celebrated and notorious French writer Colette and her struggle for recognition. Directed by Wash Westmoreland (Still Alice 2014), Colette has the feel of a lush, British period drama, with well-drawn characters, gorgeous costuming and a pace that never feels rushed. Continue reading
Good Manners (As Boas Maneiras) (2017)
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Image via miff.com.au
This is a strange film. It changes mood, pace and genre several times, beginning as a straightforward drama then veering into romance then horror then fantasy then fairytale, with the occasional musical number thrown in. Continue reading
Matangi/Maya/M.I.A. (2018)
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Image via miff.com.au
Pretty much all I knew about Matangi a.k.a. Maya Arulpragasm a.k.a. M.I.A. is the song Bad Girls. The anthem to girls doing whatever they want has a killer video clip of stunt drivers in the Middle East and M.I.A. resplendent in shades and gold chains. I now know there is so much more to her than this song and her Grammy and Oscar nominations. Continue reading
Tigers Are Not Afraid (Vuelven) (2017)
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Based on the real problem of children left vulnerable when their parents are captured or killed by Mexican drug cartels, Issa López’s horror take is cast primarily with child actors who do a decent job of carrying the story. Integrating fable-like elements and some competent special effects, the result is engaging although somewhat marred by sentimentality. Continue reading
And Breathe Normally (Andidh Edhlilega) (2018)
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Image via miff.com.au
This debut feature from Iceland’s Isold Uggadottir takes a small moment in the lives of two very different women and spins a delicate and nuanced story of oppression and connection. Continue reading
