Editor-turned-director Scott Cummings eschews conventional cutting in his slow, unjudgemental look at the Satanic church in Realm of Satan.
Enter the Realm of Satan, Slow Cinema Style
Festivals
Reviews and dispatches exploring the best new cinema premiering around the world.
Sisterhood Prevails Amongst 78 Days of NATO Bombs
78 Days by Emilija Gašić uses a documentary, found-footage approach to depict the trials of girlhood growing pains in the midst of NATO bombings.
The Ballad of Suzanne Césaire Rejects Conventionality in Favour of Archival Speculation
Madelaine Hunt-Ehrlich’s The Ballad of Suzanne Césaire mounts a corrective to the surrealist’s occluded legacy through a personal essayistic structure.
The Light Provides a Fleet Danish History Lesson about the Lingering Complications of Nazi Occupation
Alexander Lind’s The Light investigates an incendiary art project that used bunkers as a metaphor for Danish collaboration during the Nazi occupation, live from Rotterdam.
Schirkoa: In Lies We Trust Won’t Be a Hit. It’s Too Unique For That.
Using an Unreal Game Engine to bold and unsettling effect, Ishan Shukla’s Schirkoa: In Lies We Trust is a truly unique and strange sci-fi vision.
Small Hours of the Night Gives Testimony to Disembodied Dissidence
Daniel Hui’s chamber piece makes the most of its limited location to provide fascinating ruminations on the reverberations of Singaporean history.
Godsterminal Remains as Empty as a Reenactment
The concluding chapter of Georg Tiller’s Gotland trilogy, Godsterminal struggles to escape from the legacy of Ingmar Bergman’s seminal works.
Eternal in Name. Eternal in Nature.
Science-fiction romance Eternal is pretty good for the first twenty minutes. Then it repeats the same point over and over again, to diminishing results.
The Timely Desire Lines Gives the Forgotten Home and Liberation From Anxiety
Academic-turned-filmmaker Jules Rosskam’s Desire Lines is a personal, politically-relevant time-travelling journey through the lives of trans men.
Radical Archeology Challenges Past and Present in Praia Formosa
Brazilian documentarian Julia De Simone’s first fiction feature imbues the past with the urgency of the present, breaking free of historical restraints.