A group of villagers stage a series of increasingly bizarre protests against the development of a lithium mine in the unengaging Savanna and the Mountain.
The Empty Pageantry of Savanna and the Mountain
Directors’ Fortnight
Parsing the Puzzling Persian of Universal Language
Matthew Rankin’s culture-bending comedy fable throws up all kinds of intellectual questions, but rarely engages on a deeper, emotional level.
(Don’t) Believe The Hyperboreans
Disturbing and entertaining in equal measure, Cristobal León and Joaquín Cociña’s wildly inventive metafiction The Hyperboreans is a standout work from Cannes.
When the Light Breaks Has (Almost) All The Right Takes
When the Light Breaks is Rúnarsson’s return to his earlier, sadder work, but is undone by an unnecessarily sentimental streak. Opens Un Certain Regard.
In Our Day Find Profundity in the Very Smallest of Things
Hong Sangsoo returns with In Our Day, a delightful tale that reminds us that contentment can be found in a drink of soju or a puff on a cigarette.
A Song Sung Blue Is Not The Warmest Colour
A Song Sung Blue has every shade of blue you can hope for. But perhaps gorgeous aesthetics can only get you so far. Playing at Directors’ Fortnight.
“We are not used to seeing these kinds of bodies” — Elene Naveriani on Blackbird Blackbird Blackberry
Elene Naveriani shares casting Eka Chavleishvili, portraying older bodies, and casting a critical eye over rural Georgia in Blackbird Blackbird Blackberry.
Blackbird Blackbird Blackberry. Pure Cinema Poetry.
With their third film, Blackbird Blackbird Blackberry, Georgian director Elene Naveriani re-asserts themselves as a major voice in world cinema.
Uncomfortable. Upsetting. Brilliant. Creatura.
The perils of burgeoning female sexuality are excellently turned inside-out in Elena Martín’s impressive second film, playing in Directors’ Fornight.