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I have no idea what this film is about. If there were signs of a meaning, I missed them and felt confounded as the credits rolled. Continue reading
Tower. A Bright Day (2018)
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A Woman Captured (2017)
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You know that the story of a woman being kept essentially as a slave in contemporary Hungary is going to be hard-hitting. Filmmaker Bernadett Tuza-Ritter does an outstanding job of inserting us right into the exhausting day-to-day existence of Marish. Continue reading
Yours in Sisterhood (2018)
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An intriguing albeit flat documentary by Irene Lusztig, Yours in Sisterhood has contemporary women reading unpublished letters sent to Ms magazine in the 1970s. Continue reading
Pig (2018)
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There seems to be a thing where Iranian directors make films about Iranian directors. Jafar Panahi likes to do it with his documentary-like musings starring himself, such as Tehran Taxi. Mani Haghighi takes a shot at it with Pig although his tongue is firmly lodged in his cheek. Continue reading
Thoroughbreds (2017)
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Slick, dark and thoroughly watchable, Thoroughbreds is an accomplished first feature from Corey Finley about privilege and morality. Touted as American Psycho meets Heathers, it has an affinity with both in its exploration of the heartless self absorption that can come with wealth and entitlement. Continue reading
Woman at War (Kona fer i strio) (2018)
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I love a quirky Icelandic drama and Benedikt Erlingsson has created an engaging and tongue-in-cheek story with a mostly subtle but effective message. Continue reading
Everybody Knows (Todos lo saben) (2018)
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Asghar Farhadi is an accomplished director and he knows how to tell a good and complex story. His films often show us people who have a veneer of success – jobs, wealth, relationships, family – and are confronted with a moral dilemma that slowly unravels their comfortable lives. Everybody Knows is no exception and, once again, Farhadi has created a film outside of his native Iran. Continue reading
I Used to Be Normal: A Boyband Fangirl Story (2018)
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The Bay City Rollers was my boyband obsession. Tartan scarves were banned from my primary school because we used to wear them tied to our wrists to show our devotion. My cousin called them the Bay Shitty Rollers, just to annoy me. Continue reading
Fugue (Fuga) (2018)
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Agnieszka Smoczynska’s credentials as the director of 80s musical about killer mermaids The Lure, got me along to Fugue, her next feature. They couldn’t be more different in tone and style but both have stories that recast women out of familiar stereotypes. Continue reading
Scary Mother (2017)
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Blending just the right amount of bleached Eastern European realness with surreal metaphor, Scary Mother is a dark and brooding tale of female autonomy. Continue reading
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