Not about a woman called Dispeller but about a legitimate practice in China where wives, who find out their husbands are cheating on them, employee someone to dispel the mistress – a mistress dispeller.
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Zombie movie – tick. Set in Tasmania – tick. Starring Daisy Ridley – okay, I can go with that.
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Slovenian director Urska Djukic gives us a convincing meditation on emerging teenage identity and sexuality in a repressive Catholic culture.
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I keep forgetting one of the joys of MIFF is seeing an Antipodean documentary about a person, having them there at the screening and finding out they’re a really decent person. The MIFF trifecta.
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I’ve wavered a little in what I feel about this absorbing look at teenage motherhood. Does it get under the skin of these young women or are we to believe their biggest stressors will be boyfriends and poor relationships with their own mothers?
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Kasimir Burgess made a documentary Franklin a few years back, that I really enjoyed. With that film, he used a central story and narration to help us understand several threads about activism, nature, and acceptance of identity.
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I’m not sure if it’s just that I hit the day five morning crash of MIFF but I struggled to keep my eyes open in this Irish-made, quietly languid documentary about a Ukrainian health sanatorium that seems stuck in the 80s.
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I think I probably knew this was going to be a depressing film because it was about low caste farmers in Rajasthan fighting against corrupt officials.
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Really I shouldn’t be surprised that a film that is about a woman who wants to be a chair ends up being an absurd and surrealist set piece.
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I’m a Wisemen fa-an (why do I hear Susan Sarandon in I Can Make You a Man when I say this line?). Okay I’ve only seen two but I loved Menus-Plaisirs so much that I think I would like anything Frederick Wiseman makes.
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