This must be one of the most convincing ‘docufictions’ I have even seen. Peter Kerekes spent five years filming in a Ukrainian women’s prison and has crafted an austere and profound drama where the voices of the women are integral to the story.
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There’s a lot to like about this debut feature by Panah Panahi, son of Iranian legend Jafar Panahi (Three Faces, Tehran Taxi).
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Alejandro Loayza Grisi’s impressive first feature reminded me of Aga (2018) in its often wordless depiction of indigenous peoples eking out an existence in a vast and remote plain.
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I loved Robert Machoian’s The Killing of Two Lovers (2020) and he again examines a crisis of masculinity in rural America, albeit through a simpler tale.
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You always hope for a gem at a film festival – a film you know nothing about, that you have no particular hopes for but that transports you somewhere transcendent.
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Documentaries don’t usually make me so angry I want to throw something at the screen. Vietnamese film maker Hà Lệ Diễm gives us unprecedented insight into Hmong culture and their tradition of bride kidnapping.
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There was something deeply compelling about this rigorous and austere look at identity and trauma by Hungarian director Kornél Mundruczó.
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Lorenzo Vigas pares back dialogue and fills the frame with the vast expanses of Northern Mexico in this contemplative story of loss and separation.
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Even though this is a very intimate story of friendship, it feels epic in scale and rich in detail, set against a glorious backdrop of Alpine mountains.
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