Multiple layers of ambiguity characterise Louise Hémon’s debut feature, a fascinating turn-of-the-century tale about the snowy road to enlightenment.
The Girl in The Snow Cleverly Belies Its Classical Aesthetic
Exploring the Outer Edge of Film
Multiple layers of ambiguity characterise Louise Hémon’s debut feature, a fascinating turn-of-the-century tale about the snowy road to enlightenment.
French dramedy Drifting Laurent is a slow and seemingly aimless film that provides oodles of charm in its depiction of an mid-season alpine resort.
A fine animation style is wasted by a deadeningly boring script in Félix Dufour-Laperrière’s surrealist eco-thriller Death Does Not Exist.
The very definition of a hangout movie, ACID opener L’Aventura explores the quotidian moments that most contemporary cinema often breezes by.
The Wedding Banquet is a broad remake of Ang Lee’s 1993 work that drains the rich cultural specificity of the subject matter into boring slop.
The highs and lows of die-hard football fan culture is lovingly surveyed in Ragnhild Ekner’s excellent documentary Ultras.
A witty, low-key riff on the intersection between love and espionage, Black Bag is one of the best spy films to come out in recent years.
A24’s broadest comedy yet, Death of a Unicorn feels woefully miscast, providing another eat-the-rich satire that has nothing interesting to say.
Try as it may, Drop is hampered by its central conceit, with its surprise smartphone messages more of a pain than a genuine source of tension.
Oscar-nominated short I’m Not a Robot examines the line between humanity and identity, exploring the illusion of control with humour and precision.