The woods straddling Bulgaria and Turkey are imbued with multivalent meanings in Pepe Hristova’s Strandzha, playing in Harbour at IFFR.
Strandzha. Between the Borderlines.

Exploring the Outer Edge of Film
The woods straddling Bulgaria and Turkey are imbued with multivalent meanings in Pepe Hristova’s Strandzha, playing in Harbour at IFFR.
The end of identity politics is discussed with nuance and heart in Matthew Lax’s simple yet effective mid-length documentary Gay Men’s Book Club.
The 1986 Richard Gere star vehicle No Mercy shows that all a movie needs is a girl and a gun. And lots of fog machines.
With a documentary-like aesthetic and profound use of the mundane, Heather Young’s sophomore film There, There reasserts her singular voice.
Marie-Magdalena Kochová’s debut feature acutely captures the Glass Children phenomenon: being overshadowed by your sibling with more complex needs.
An EU-funded cousin of Megalopolis, The Opera! is a baffling and bad film that astounds with its incredibly basic classical music choices.
New York Counter Film Festival, created in opposition to NYFF’s Zionist ties, enjoyed its inaguaral, radical edition. We report from the frontline.
Pavements is a biopic, musical and exhibition, with Alex Ross Perry applying the idiosyncratic spirit of the 90s band to novel forms of cinematic expression.
A fat straight man finds a new lease of life when he sends his self-portrait into a gay magazine in Devin Shears’ touching debut Cherub.
Sarah Friedland’s potent debut takes time and care to depict the ins and outs of living with dementia, to powerful results. Live from Venice Film Festival.