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Pema Tseden’s gorgeous and enigmatic Tibetan road movie has the bleached understatement of Sergio Leone and the lush intimacy of (producer) Wong Kar Wai.
Jinpa (2018)
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Greener Grass (2019)
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What a delight this wacky film is, steeped in saturated pastels and sharp, contemporary satire. Continue reading
Long Day’s Journey Into Night (地球最后的夜晚) (2018)
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Ten minutes into this sophomore feature by Kaili Blues (2015) director Gan Bi, I remembered how much I struggled to engage with his first film. Continue reading
Adam (2019)
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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
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
Dark Place (2019)
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Dark Place is an anthology of short, horror films by Australian Indigenous filmmakers and it’s an indictment of Australia that they don’t need to exaggerate reality much for it to be horror. Continue reading
Dudes (1987)
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The 80s weren’t a great time for female characters in teen cinema. 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
His Lost Name (Yoake) (2018)
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This understated and enigmatic drama by Nanako Hirose is surprisingly meditative and captivating, although occasionally frustrating and ultimately unsatisfying. 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
