First-time feature documentary director Kier-La Janisse gives us a fascinating deep dive into the world of ‘folk horror’ films and what they say about fear, colonialism and the ‘other’.
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Messy, arty and wry, this mockumentary by Bill Benz weaves the true-life friendship of Carrie Brownstein and Annie Clark, stage-name St. Vincent, with a rumination on fame, identity and artifice.
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Beginning as a familiar story of a rebellious teenager pushing against the confines of her family, Joyce Chopra takes us down a dark path that perfectly captures the strength and vulnerability of a young woman.
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This odd and meandering meditation on adolescent vulnerabilities slowly warms your heart as you watch college freshman Alex (writer, director and star Cooper Raiff) get a grip on life.
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Natalie Morales transcends the all-too-familiar (thanks COVID-19) movie-made-on-screens gimmick to bring us an intensely moving story of human connection.
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This is a beautifully-made documentary that carries us close beside the mayor of the Palestinian city of Ramallah, Musa Hadid, as he goes about his day, dealing with everything from fountains to Israeli aggression.
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A low-budget family affair with a crew made up of director Alexandre Rockwell’s film students, Sweet Thing feels like a home movie as seen through the eyes of children.
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We begin in true Kelly Reichardt style with a long slow shot that lets us take in the slow movement of a river and the sounds of a forest. We are in present day and watch as a woman (Alia Shawkat) unearths a bone, then uncovers two skeletons lying side by side.
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What at first seems a bright and cheesy opportunity to poke fun at the ignorance and excess of wealthy, white America becomes an insightful and somewhat bleak exploration of ageing.
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At first, this look at the inherent bias of algorithms in our daily lives made me uneasy and tempted to ditch all my technology. I stuck with it, though it nearly had me nodding off with its ambling pace, and was rewarded with some third act gems,
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