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Like a sweet, golden, flaky pastry served with a bitter coffee, Maryam Touzani’s Adam is full of warmth, sorrow and satisfaction. Continue reading
Adam (2019)
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The Lodge (2019)
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Austrian directors Severin Fiala and Veronika Franz have crafted a frosty and compelling suspense with horror overtones. It surpasses Hereditary (2018) with its eery themes of rural isolation and family dysfunction. Continue reading
We Are Little Zombies (Wî â Ritoru Zonbîzu) (2019)
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Told in a Wes Anderson-esque tableau style, Makoto Nagahisa’s We Are Little Zombies is a visual onslaught that frames childhood grief as a computer game, with avatars, quests, save points and perhaps even a chance of a game reset. Continue reading
Take Me Somewhere Nice (2019)
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“The hardest thing in life is letting go of those you hold dear. After that, everything is easy.” Continue reading
Little Monsters (2019)
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The Centrepiece Gala had me at ‘ukulele’ and ‘zombies’. Abe Forsyth’s zom-com doesn’t take itself too seriously and is full of laugh-out-loud dialogue and devastatingly winsome performances from Lupita Nyong’o, Alexander England and a class full of kindergarten kids. Continue reading
Papicha (2019)
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“Don’t drink standing up. Satan will see you. And with your left hand too!” Continue reading
Judy and Punch (2019)
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Except for a slight misstep in the third act, this darkly funny evisceration of violent men and mob mentality hits all the right notes (pun intended). It is a strong debut by director Mirrah Foulkes. Continue reading
