A quick jaunt to Mainz starts a day filled with characters crossing borders, looking for common threads that unite humanity.
goEast Film Festival Day Two: Crossing Borders
Redmond Bacon
Redmond is the editor-in-chief of Journey Into Cinema.
goEast Film Festival Day One: The Rise of the Hybrids
An Armenian animated documentary and a shape-shifting Ukrainian 90s-set film noir characterise a strong start to goEast Film Festival.
The Asthenic Syndrome Sleeps Through the End of History
When history ends it’s tempting to sleep through all the chaos. But as The Asthenic Syndrome points out, neither sleep — or art — can change a single thing.
Suzume Soars, Shines, then Sinks.
While the 2D observational moments of Suzume are keenly felt, the overall message is lost in a morass of muddled storytelling and messy CGI.
Brief Encounters. Epic Possibilities
The magic of Kira Muratova’s debut film is finding epic possibilities embedded within the everyday. We look at Brief Encounters, and it’s place in Ukrainian film history.
Limbo (Not that One or that One) Gives the Ossie Outback the Breaking Bad Treatment
This Australian desert noir is more interesting than its title, but would’ve worked a whole lot better as a TV series.
Bad Living and Living Bad at Berlinale 2023: Four Enigmatic Hours of Maternal Misery
Haughty mothers haunt a draughty hotel in João Canijo’s Bad Living and Living Bad, playing in both Competition and Encounters at the Berlinale 2023.
Berlinale 2023 Perspektive Deutsches Kino: German Soft Power
The explicitly German section of the Berlinale, Perspektive Deutsches Kino is a fascinating example of film festival soft power diplomacy.
in water is Hong Sangsoo’s Best Film In Years
Hong Sangsoo innovates with new techniques to create his best film since On The Beach at Night Alone with In Water — a tremendous ode to the magic of art.
Further Adventures in the Panorama Section: Women Strike Back
The patriarchy pushed them to the edge. These three films from the Berlinale Panorama section show how women can fight back.