Children are the same everywhere, except the ones living in a Cameroon civil war zone tell stories of people being blown up and make art and drawings about tanks and guns.
Continue readingLe Spectre de Boko Haram (2023)
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Lost in the Night (Perdidos en la Noche)(2023)
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Amat Escalante’s Lost in the Night feels like an amalgam of Mexican films I have seen over the past few years.
Continue readingTime Bomb Y2K (2022)
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Tommy Guns (Nação Valente) (2023)
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Destined to confound, this sometimes surreal drama (with a touch of horror) sits in an uncomfortable space between metaphor and realism.
Continue readingThe Lost City of Melbourne (2022)
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A gentle love letter to Melbourne that will make you look up with a new appreciation of what you probably walk past every day.
Continue readingOldboy (올드보이) (2003)
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I’m not sure what I was expecting from Oldboy but I didn’t think it would be quite so hard to watch.
Continue readingLeonor Will Never Die (Ang Pagbabalik ng Kwago) (2022)
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Leonor Will Never Die takes us on a madcap ride through Filipino 80s action movies that is so meta it is like a Möbius strip.
Continue readingUnder the Fig Trees (2021)
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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 readingHit 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.
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