“‘The Girl Who Cried Pearls’ is a great modern fairytale, but there’s something even more impactful left in the margins which could have elevated it beyond an effective homage into something singular.”
“In a field where ‘Perfectly a Strangeness’ was surrounded by Earthly horrors, it invited the most unadventurous Academy voters to collectively imagine their place amongst the cosmos.”
“There’s plenty of heart to be found within ‘Another End,’ but the clunky handling of a climactic twist sadly feels emotionally and philosophically empty.”
“‘Waltzing with Brando’ suffers from a sluggish rhythm and lack of narrative drive because it focuses on the wrong character and the wrong aspect of the subject’s life.”
“As politics continue to divide people via blinding shades of blue and red, Andrea Bocelli transcends above the madness by communicating what’s in his heart.”
“‘Somnium’ is rather predictable, as first-time feature filmmakers like Cain tend to prioritize visual design over the nuts and bolts of their script.”
“Even when Lam’s dialogue falters in its poetic consistency, her down-to-earth editing and dedication to minimalism hits the mark, as ‘Us and the Night’ embodies true-blue independent filmmaking.”
“Gradually, the Sex/Dreams/Love trilogy redefines queerness as a process of self-discovery which can always evolve, rather than an ill-fitting label you’re stuck with after a single formative experience.”