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 readingSleep (잠) (2023)
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Deep 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.
Continue readingShayda (2023)
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On the surface, this is a story of a woman trying to leave an abusive marriage, but it shines a light on the insidiousness of domestic violence and its roots in patriarchy.
Continue readingIt Lives Inside (2023)
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A guaranteed strategy to stay awake through your third film of the day, is to make sure it’s a horror.
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