In All, Or Nothing At All, presented in two unique, each-way versions, Jiajun Zhang captures the modern malaise of contemporary Chinese capitalism.
Mall of Us Strangers
Category: Festivals
Reviews and dispatches exploring the best new cinema premiering around the world.
Malu. The Bout of the Brazilian Bohèmes.
With shades of Cassavetes, Pedro Freire’s Brazilian debut Malu is a spirited and claustrophobic homage to the influence of his chaotic mother.
Otro Sol. Only Crime Will Tell.
Francisco Rodriguez Teare’s hybrid debut Otro Sol is a creative and crafty investigation of criminal and colonial legacies — in Chile and beyond.
To Be An Extra Examines a Self In Parts
Long consigned to the cinematic sidelines, perpetual extra Henrike Meyer gathers her manifold experiences into a touching journey of self-actualisation.
My First Film Testifies to the Collective Energy Necessary for All Creation
A loose adaptation of a live performance about a failed film, Zia Anger’s docufiction My First Film both deconstructs and reinvents the filmmaking process.
“This is a story of becoming” – Philipp Fussenegger, Judy Landkammer and Susanne Heuer on The Teaches of Peaches
Near the 25th anniversary of Peaches’ explosive second album, The Teaches of Peaches gives gret insight into her life. We talked with the team behind the film.
Berlinale 2024: After Hours
From retrospective to classics to special, here are mini-reviews of everything else Journey into Cinema saw at Berlinale 2024.
Subject: Filmmaking Shows Why Everyone Needs to Study Cinema
55 years in the making, Edgar Reitz’ wonderful Subject: Filmmaking is a charming case for obligatory film classes in schools everywhere.
Berlinale Shorts 2024: The Detritus of Modernity
This year’s Berlinale Shorts reveals an obsession with the ongoing crises of modernity, while revealing biases about the types of stories allowed to be told.
Pepe is Dead. Long Live Pepe.
Hippos become a metaphor for Colombia, the state of humanity and the world’s capacity for cruelty in Nelson Carlo De Los Santos Arias’s unclassifiable Pepe.