Hong Sangsoo’s latest film, The Day She Returns, is even more minimalist than usual, using just a handful of scenes to create a spare poem of differences.
A Few Small Beers
Redmond Bacon
Redmond is the editor-in-chief of Journey Into Cinema.
Shot Reverse Shot. Jewish Life at the End of the Ceaușescu Regime.
Radu Jude and Adrian Cioflâncă’s latest documentary Shot Reverse Shot continues their vital archival work of the Jewish Romanian experience.
A Russian Winter’s Lost Generation
Patric Chiha’s A Russian Winter is a minor work, but a nonetheless rewarding one: capturing exiled Russian youth in a tragic holding pattern.
Lust Confidently Finds Its Way Through the Darkness
Ralitza Petrova’s lust is a tale of sex addiction and childhood trauma that, despite its grimness from scene to scene, exerts a curiously optimistic pull.
Don’t Send In The Clowns. They’re Already Here.
A clown’s life is turned upside down when her husband and two kids die in the emotionally resonant Four Minus Three, playing in Panorama.
Decay. Peak Perestroika.
The first film to tackle the Chernobyl disaster, Mykhailo Belikov’s Decay is a fascinating historical document and a gripping work of poetic disaster cinema.
The Wry Pleasures of Everything Else Is Noise
Nicolás Pereda’s minimalist chamberpiece Everything Else is Noise is at once a slyly pleasurable arthouse experience and a finely-attuned family comedy-drama.
Home Can’t Find Where the Art Is
The well-meaning Yugo-Danish drama Home offers a nuanced portrait of migration and integration, but never really takes off dramatically.
Freeze Frames
A broken fridge-freezer becomes a metaphor for the breakdown of a family — and perhaps society itself — in uneven comedy Complaint No. 713317.
Why Do I See Hybrids In Everything?
Why Do I See You in Everything? surveys the notion of home amid living in exile, but feels unfocussed while tending towards the tedious.