Fernanda Tovar’s Sad Girlz is a touching tale of female friendship under the shadow of sexual violence — the winner of Berlinale Generation 14Plus.
Sad Girlz Does It Well
Exploring the Outer Edge of Film
Fernanda Tovar’s Sad Girlz is a touching tale of female friendship under the shadow of sexual violence — the winner of Berlinale Generation 14Plus.
Hong Sangsoo’s latest film, The Day She Returns, is even more minimalist than usual, using just a handful of scenes to create a spare poem of differences.
Patric Chiha’s A Russian Winter is a minor work, but a nonetheless rewarding one: capturing exiled Russian youth in a tragic holding pattern.
Muriel d’Ansembourg’s taboo-breaking drama explores the way pornography can change who we are, in often finger-wagging ways.
Nicolás Pereda’s minimalist chamberpiece Everything Else is Noise is at once a slyly pleasurable arthouse experience and a finely-attuned family comedy-drama.
Set in Almería, Panorama entry Iván & Hadoum shows the difficulties of love blooming in the hard ground of labour exploitation.
Despite, or perhaps because of, its cringe characters, Tell Me What You Feel is a heartfelt exploration of whether art and love can really understand trauma.
Kelly Hughes’ long-unavailable and unique queer outsider artwork Twin Cheeks: Who Killed the Homecoming King? finally makes its way back into the public eye.
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.
Craig Brewer’s Song Song Blue is a surprisingly powerful musical biopic that rests upon the remarkable easygoing charm of Kate Hudson.