

First time director Ariane Labed almost makes this darkly gothic tale work but fumbles its tricksy reveal.
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First time director Ariane Labed almost makes this darkly gothic tale work but fumbles its tricksy reveal.
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I think what threw me about this often delightful, often gross body horror was the expectation from reading the synopsis that it was feminist. It has made me muse on what my expectations are when that term is applied to a film, and I think it is about more than putting women’s stories at the centre, It’s about stories of women’s power and autonomy.
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I sat in the front row of the Capital cinema for the first time to watch this intensely emotional epic from Agnieszka Holland as a man across the aisle from me was chewing on something that sounded like a hard lolly with his mouth open for the first 10 minutes of the film and I couldn’t handle it. The front row was a good choice as it enveloped me in the austerity and complexity of this story of asylum seekers in Europe.
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I couldn’t hold back the tears through the ending of this film. It ends with a magnificent crescendo of hope that I found profoundly beautiful and poignant, and then, as the credits roll, the first notes of The The’s This is the Day starts to play and I dissolved.
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One of the hardest things about MIFF is staying confident with the films that you have chosen.
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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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