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Director Yui Kiyohara’s debut feature, Our House, has a quite restraint that adds a lyrical quality to its abstruse narrative. Continue reading
Our House (Watashitachi no ie) (2017)
Standard[Censored] (2018)
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Sari Braithwaite’s hour long introspective documentary built from clips cut out of films by the Australian Censor Board goes some way to exploring the notion of censorship. Continue reading
The Women (1939)
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Revisiting this gorgeous example of an era in Hollywood when women’s films gave women agency, though with limitations, was an indulgent treat. It is one of my favourite films of the time and beautifully captures how women can be contained and yet will always seek to subvert their boundaries. Continue reading
The Tale (2018)
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The Tale is based on the experiences of writer director Jennifer Fox who discovered a story written by herself at age 13 that recounts her relationship with her 40-year-old running coach. Having remembered it for 30 years as a benign and normal experience, reconnecting with her words as a 13-year-old forces her to confront the reality. Continue reading
Morocco (1930)
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The chance to see Marlena Dietrich, in a tuxedo, kiss a woman was enough to get me to Morocco. I love punctuating my MIFF experience with the nostalgia of a classic and any of the 30s black-and-white dramas and melodramas are like entering a different universe. Continue reading
Tower. A Bright Day (2018)
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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
Ryuichi Sakamoto: Coda (2017)
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My film before this one, Ukrainian Donbass, was an unrelenting, grubby onslaught of caricature, corruption and violence. Following it with 100 minutes with Ryuichi Sakamoto was like a balm for the heart and soul. Continue reading
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
