Review: Joachim Trier’s ‘Thelma’
“It’s an odd little film, more melancholy and plaintive than outright scary or troubling, that slowly crawls under your skin.”
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Review: Luca Guadagnino’s ‘Call Me by Your Name’
“‘Call Me by Your Name’ skips through time like a dream, or a calcified, powerful memory.”
Of Elephants, Daughters and Rebels: Bobby Sarma Baruah’s ‘Sonar Baran Pakhi (The Golden Wing)’
“In its thorough research and extensive reconstructing of the artist’s life, ‘Sonar Baran Pakhi (The Golden Wing)’ is a document of celebration.”
Gabe Klinger’s ‘Porto’: A Middling, Moody Romance
“‘Porto’ aims for atmosphere but merely achieves it with convention.”
Review: Maysaloun Hamoud’s ‘Bar Bahar’
“‘Bar Bahar’ is an unmissable dramedy that puts women at the heart of a hypocritical world in flux.”
CIFF After Dark Review: Patrick Brice’s ‘Creep 2’
“Horror fans may need to adjust their expectations if they’re looking for more frights than laughs.”
New York Film Festival Review: Paul Schrader’s ‘First Reformed’
“The multi-hyphenate filmmaker’s latest seems to anticipate dissection: its formal austerity belies a haphazard, literary-minded indulgence.”
CIFF After Dark Review: Oliver Kienle’s ‘Four Hands’
“‘Four Hands’ is sublime and arresting in its imagery.”
CIFF After Dark Review: Giddens Ko’s ‘Mon Mon Mon Monsters’
“‘Mon Mon Mon Monsters’ actually inspires and entertains while pointedly dealing with a subject that hits close to home for many.”
Review: Kazik Radwanski’s ‘Scaffold’
“Out of a fractured, tentative world, Kazik Radwanski created a strong and whole short film.”
