Flesh and Fuel rises above its euro-drama trappings by capturing a great sense of sweetness and vulnerability among the continent’s gay trucking community.
Big Rigs. Even Bigger Feelings.
Exploring the Outer Edge of Film
Flesh and Fuel rises above its euro-drama trappings by capturing a great sense of sweetness and vulnerability among the continent’s gay trucking community.
Christian Petzold sits down with Journey Into Cinema to discuss Miroirs No.3, arguing with his family, and why repairing things is the opposite of capitalism.
Patric Chiha’s A Russian Winter is a minor work, but a nonetheless rewarding one: capturing exiled Russian youth in a tragic holding pattern.
The absurdities of the privileged in the face of incoming disaster is smartly dissected in João Nuno Pinto’s Tallinn entry 18 Holes to Paradise.
At a time when “groomer” is used as a political smear, The Pupil shows us the truly sickening impact the reality can have on young boys and girls.
Borrowing Reygadas’ DOP, Ana Cristina Barragán’s taboo-breaking film The Ivy doesn’t satisfy, even if it keeps us curious.
Evi Kalogiropoulou’s deeply disappointing Gorgonà leans so heavily into fascist aesthetics it starts to resemble the very thing it criticises.
Despite its preponderance of gorgeous images, The Visitor provides an emotionally-detached experience that can’t match the magic of its visuals.
Mark Jenkin’s loopy tour of the Celtic regions of the world (and Los Angeles) is British cinema and its most pure and eccentric. Essential viewing.
Over the course of three hours, Alex Ross Perry knowingly charts the rise and fall of the video store, from cultural icon to modern irrelevance.