Gina Telaroli’s Here’s to the Future! belongs to a long tradition of self-reflexive cinema focused on the mechanics, frustrations and joys of the film making process.
Amanda Rose Wilder’s Approaching the Elephant is a remarkable document of a utopian schooling experiment that shows great restraint in withholding judgment on its outcomes.
Corneliu Porumboiu’s THE TREASURE draws its strength and humour from the significant restraint Porumboiu displays in keeping the story simple.
HORSE MONEY demands a lot from but ultimately rewards its viewer and testifies to Pedro Costa’s evolution as an filmmaker.
While Thom Andersen’s The Thoughts That Once We Had will appeal above all to cinephiles familiar with Deleuze’s philosophy, its flashes of imaginative criticism make this a valuable reflection on image-making.
The Art Gallery of New South Wales has announced their latest screening series, a collection of films looking at “cinema’s engagement with social struggle and revolutionary culture.”
Croatian director Ognjen Sviličić’s fifth feature film’s dedication to the minimal social realist aesthetic produces some touching reflections on the family unit outside of its overarching narrative.
Another nuanced and moving rumination from Patricio Guzmán tracing the contours of Chilean history in the natural phenomena that has born witness to centuries of human misdeed and injustice.
Though it probably won’t be spoken about in the same breath as the major films directed together with his brother David in the Direct Cinema heyday, Iris is a tempered, intimate piece of portraiture and a fine end to an important body of documentary filmmaking.
Lav Diaz’s epic 6-hour opus is a solid cinematic experience, more than worth a look in a theatrical context if such an opportunity presents itself.