Berlinale 2020 Review: Tsai Ming-liang’s ‘Days’
“Why are we watching if the director’s gaze — and hence our own — makes us feel like we’re intruding spaces that should be left otherwise untouched?”
Berlinale 2020 Review: Hong Sang-soo’s ‘The Woman Who Ran’
“Hong Sang-soo’s cinematic apparatus might seem limited to some, but it’s in the endless repetition of the same movements that perfection is achieved.”
Why Criticism: The One-Inch Tall Barrier of Foreign Cinema
“Tucked in our so-called privileged positions, we need to not only hold tight but also need to learn when to engage and when to let things go.”
IFFR 2020 Review: Zheng Lu Xinyuan’s ‘The Cloud in Her Room’
“‘The Cloud in Her Room’ is an indie revelation for the dreamers. It invites collected reflections and quiet reminiscences; the eclectic images are a roaring statement.”
IFFR 2020 Review: Oda Kaori’s ‘Cenote’
“By seemingly stripping the sacredness from the cenotes, and forcing the sinkholes to be penetrated by the eye of the camera, Oda appears to deconstruct the documentary’s premise: there’s no mystery to unearth…”
London Korean Film Festival: Seeking Family and Identity in Four Female-Directed Debuts
London Korean Film Festival: Serena Scateni on ‘Young-ju,’ ‘A Bedsore, ‘A Boy and Sungreen’ and ‘Yukiko’
Open City Docs Fest Review: Lei Lei’s ‘Breathless Animals’
“Despite the 68-minute duration, ‘Breathless Animals’ might feel occasionally redundant, especially when the animation creates psychedelic vibes, but its many sketches of a woman’s life make up for any minor flaws.”
Locarno Film Festival Review: Sharipa Urazbayeva’s ‘Mariam’
“What is most harmful here is attaching the concept of re-gained femininity to makeup and fancy earrings. There shouldn’t be any need for a knight in shining armour to come to the heroine’s rescue.”
Edinburgh Film Festival Review: Emily Harris’ ‘Carmilla’
“‘Carmilla’ proves to be a successful adaptation that will appeal to anyone looking for some unearthly shivers, or a coming-of-age story where being conscious of one’s own sexuality takes centre stage.”
Edinburgh Film Festival Review: Phuttiphong Aroonpheng’s ‘Manta Ray’
“Featuring powerful lead performances, ‘Manta Ray’ is like a perfectly wrapped present that needs to be opened with care.”
Edinburgh Film Festival Review: Agnès Varda’s ‘Varda by Agnès’
“Playing almost like a self-eulogy, ‘Varda by Agnès’ resonates as both a manifesto to untamed creativity and a testament to future generations of artists.”
Edinburgh Film Festival Review: Jessie Jeffrey Dunn Rovinelli’s ‘So Pretty’
“Tip-toeing on the smudged edges between fiction and documentary, ‘So Pretty’ is an experiment in means of representation and ultimately a tender ode to an unjustly forgotten author.”
Glasgow Film Festival Review: Naomi Kawase’s ‘Vision’
“It’s commendable that Kawase tries to bridge the gap between the West and the East by writing a story that attempts to transcend both time and any kind of racial differences.”
Glasgow Film Festival Review: Kei Chikaura’s ‘Complicity’
“A rare co-production between China and Japan, ‘Complicity’ is a timely feature that fits perfectly in our current political climate, especially as Chikaura urges viewers to lend a helping hand despite the most unfavourable circumstances.”
Glasgow Film Festival Review: Li Cheng’s ‘José’
“‘José’ depicts a toxic environment where no one can love freely, where relationships are doomed to sink and where looking at the sky can only offer a fickle joy lasting as briefly as fireworks during a hot summer night.”