Amat Escalante’s Lost in the Night feels like an amalgam of Mexican films I have seen over the past few years.
Continue readingLost in the Night (Perdidos en la Noche)(2023)
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Goodbye Julia (2023)
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Mohamed Kordofani (in an accomplished debut feature) teaches us about the political and social issues in Sudan in the early years of the Millennium through the eyes of two women on opposite sides of the conflict.
Continue readingSleep (잠) (2023)
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Set predominantly within an apartment, Bong Joon-ho protege Jason Yu’s ‘not really a horror’ hits the right balance between creepiness and drama.
Continue readingDeep Sea (Shen Hai) (2023)
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Blue Jean (2022)
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Georgia Oakley crafts a decent debut feature that captures the challenges of being a lesbian in Thatcher’s Britain.
Continue readingHello Dankness (2022)
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The Carnival (2023)
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Isabel Darling’s The Carnival reminded me of a particular ilk of great Australian documentary storytelling, like Maya Newell’s Gayby Baby (2015) and In My Blood it Runs (2019) and Justine Moyle’s Tall Poppy (2021). The storytellers find a subject or a family who seem absolutely ordinary and build a rapport that allows them to tell the story of how they are extraordinary.
Continue readingPast Lives (2023)
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Celine Song’s debut feature is a quiet and lyrical ode to inyeon, the Korean term for “the miracle of being in the same room together at the same time.”
Continue readingFairyland (2023)
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I want to say nice things about Andrew Durham’s Fairyland because it gives us an overview of queer culture in San Francisco in the 70s to 90s, a pivotal time.
Continue readingFremont (2023)
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I loved Babak Jalali’s Radio Dreams (2016), and he doesn’t disappoint with the tonally very different but just as meticulous Fremont.
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