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Dogs are a repeated and, I suspect, metaphorical motif in this Chilean drama by Marcela Said about the complicity of the middle-class in avoiding accountability for the atrocities committed under Pinochet. #MIFF2017 Continue reading
Child’s Pose, Romanian Cãlin Peter Netzer’s 2013 searing exploration of maternal love, is one of my favourite films. Ana, Mon Amour treads similar ground but, in its more epic, complex and ambitious scope, ultimately fails to engage. Continue reading
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What begins as a slow and awkward study of a fragile and somewhat irritating woman transforms into an engaging and gentle satire of middle class and middle-aged angst. #MIFF2017 Continue reading
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Integrity doesn’t get you far in modern day Iran. Mohammed Rasoulof gives us a slow burn commentary on his country through the eyes of one man. #MIFF2017
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This whimsical and warm-hearted documentary tracks an inspired partnership, road trip and friendship between street artist JR and French New Wave cinema director Agnès Varda. #MIFF2017 Continue reading
Significant at the time for its cast and crew of women and it’s ‘girls own adventure’ theme, On Guard, screening as part of the Pioneering Women section of MIFF, reminds us of how little has changed for women in film in 30 years. Continue reading
Sally Potter creates stories that resonate across generations with characters that are luminous. In Ginger and Rosa, she takes an experience from her youth and crafts it into an exquisite meditation on the schism between personal and collective identity and responsibility. Continue reading
All the more chilling for being based on real life rural witch camps in Zambia, Rungano Nyoni’s surreal tale of a young girl accused of being a witch works both as drama and allegory. Continue reading
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There’s a lot to like about this spooky Australian thriller, not least Adelaide Clemens’ stoic performance as twins Maude and Cleo. A sluggish pace and a muddled plot though fail to build the tension needed for this to be genuinely scary and ultimately satisfying. Continue reading
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This arthouse Todd Haynes adaptation of Brian Selznick’s graphic and text novel looks lovely but lacks the pace and complexity to keep its readership engaged. Continue reading
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