This is just the kind of documentary you want to watch. It’s got intrigue, a charismatic protagonist and it captures real-life drama unfolding on camera.
Continue readingNavalny (2022)
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Erige Sehiri makes her fiction and feature debut with this sun-dappled pastoral day in the lives of Tunisian workers harvesting figs.
Continue reading107 Mothers (Цензорка) (2021)
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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.
Continue readingGive Me Pity! (2022)
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Hit the Road (2021)
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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).
Continue readingUtama (2022)
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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.
Continue readingThe Integrity of Joseph Chambers (2022)
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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.
Continue readingThe Lonely Spirits Variety Hour (2022)
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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.
Continue readingChildren of the Mist (Những đứa trẻ trong sương) (2021)
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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.
Continue readingEvolution (2021)
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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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