

I remember feeling similarly shell-shocked after For Sama. There is something devastatingly compelling about first person footage during wartime and with No Other Land, it wasn’t even officially a war.
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I remember feeling similarly shell-shocked after For Sama. There is something devastatingly compelling about first person footage during wartime and with No Other Land, it wasn’t even officially a war.
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This is one of those delightful stories you can’t believe is true but you’re so glad it is.
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You will understand the irony of the title in the closing scenes of this acerbic, stylised allegory of colonisation.
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Santosh (Shahana Goswami) is a young Indian widow cast adrift by the death of her policeman husband. Her in-laws hate her so her best option, as a woman, is to take a compassionate position as a police woman, symbolically replacing her husband.
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Director Jon Bell has expanded his award-winning short film of the same name into a feature horror that enjoyably blends horror tropes with Indigenous history.
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This was not what I was expecting at all. It’s an oddly torturous, funny, thought-provoking story of a man who has significant facial disfigurement.
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I love this kind of film. It’s like a black and bleak Hunt for the Wilderpeople but where parenting isn’t a grizzled old man getting a second chance. With sex toys.
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I am in love with Peaches! I don’t know how I have missed out on this phenomenal woman.
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