The story of Armenia’s complicated suffering is laid bare in two stylistically opposite yet thematically linked films. From Golden Apricot Film Festival.
GAIFF Day One: Ararat to the West, Karabakh to the East
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Exploring the Outer Edge of Film
The story of Armenia’s complicated suffering is laid bare in two stylistically opposite yet thematically linked films. From Golden Apricot Film Festival.
With a tight 1:1 ratio and an eye for arresting visuals, Windless sure looks great, but its grief-laden tale fails to hit with the viewer emotionally.
The Story of Souleymane is a tightly-focussed, Dardenne-esque tale of an immigrant delivery driver trying to make ends meet that brims with heartfelt emotions.
With shades of Cassavetes, Pedro Freire’s Brazilian debut Malu is a spirited and claustrophobic homage to the influence of his chaotic mother.
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.
Rose Glass’ sophomore effort, Love Lies Bleeding, is unconcerned with likeability. Here’s why that’s a good thing, live from Sundance.
Cristi Puiu’s MMXX revisits the year he whipped up a bunch of coronavirus controversy with a typically austere anthology that lacks the smarts of his best work.
One man’s quixotic dream to host a Pink Floyd concert in the Amazon rainforest is frustratingly explored in The Outpost — live from Venice Film Festival.
A film goes into pre-production in Beirut the day after the infamous 2020 port explosion in Cyril Aris’ gripping doc Dancing on the Edge of a Volcano.
Found-footage documentary Manifesto is both a startling, necessary film but also a disturbing one, calling into question filmmaking ethics in a fascist state.