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A nostalgic trip to the 90s, Strange Days reminds us of a time when we thought that Y2K would end the world. Continue reading
Strange Days (1995)
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Afterimage (2017)
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I think we are supposed to feel sympathy for Polish artist Wladyslaw Strzeminski (Boguslaw Linda) whose avant-garde art saw him fall out of favour under socialism in the 40s. Continue reading
Japanese Girls Never Die (a.k.a.Haruko Azumi is Missing) (2017)
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Daigo Matsui directed Wonderful World End (MIFF 2015) and Our Huff and Puff Journey (MIFF 2016), both films I enjoyed for their mix of kawaii cuteness with social gravitas. Japanese Girls Must Die treads a similar path but feels more laboured and less whimsical in its telling. Continue reading
Nocturama (2016)
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This French drama, touted as being one of the most divisive films of MIFF 2017, was absorbing but ultimately lacked the punch I expected. Continue reading
Spoor (Pokot) (2017)
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This oddball Polish genre non-conformist feature by Agnieszka Holland had lots to like about it but ultimately felt like less than the sum of its parts. Continue reading
On Guard (1984)
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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
Wonder Woman (2017)
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This groundbreaking superhero movie says a lot about the agency of women in what it contains and what it omits. My eyes welled with unshed tears of pride every time Diana (Gal Gadot) unleashed her fury and my heart sank at her high heeled boots and impractical, ‘designed for the male gaze’ outfit. Continue reading
