The use of artificial intelligence in Edgar Pêra’s Asphalt Guerrilla may be inspired by good intentions, but it bodes poorly for the future of documentaries.
Asphalt Guerrilla. The Paradoxes of AI Punk Filmmaking.
Exploring the Outer Edge of Film
The use of artificial intelligence in Edgar Pêra’s Asphalt Guerrilla may be inspired by good intentions, but it bodes poorly for the future of documentaries.
A modest yet touching documentary, Emil Langballe’s Petrolheads examines addiction, mental illness and the redemptive power of friendship and cars.
Capturing the Gulf States as they suffer from temperatures rising over 50 degrees, Jacqueline Zünd’s Heat is a bleak and bold artistic vision.
The Roots of Madness is an excellent exploration of American intervention in the Middle East that sadly suffers from a fatal omission.
In We Have to Survive, Tales from Greenland, Australia, North Carolina and Mongolia show how the world is united in one thing: the threat of climate change.
Filmed over the course of ten years, Pieter-Jan De Pue’s documentary Mariinka is one of the best films made about the Russian invasion of Ukraine.
Dad Genes has a brilliant premise — a man in his 50s reconnecting with his sperm donor children — but is derailed by perfectly middle-of-the-road filmmaking.
Patric Chiha’s A Russian Winter is a minor work, but a nonetheless rewarding one: capturing exiled Russian youth in a tragic holding pattern.
Naval-gazing documentary Two Mountains Weighing Down My Chest is a funny, lacerating look at being caught between two very different cultures.
Why Do I See You in Everything? surveys the notion of home amid living in exile, but feels unfocussed while tending towards the tedious.