At Sydney Film Festival, Lidiya Josifova caught up with Teona Strugar Mitevska to talk about the socio-political and economic issues plaguing Macedonia, achieving emotional authenticity in her work, and the avenues for the distribution of Macedonian cinema.
Chicken People is ostensibly a documentary about the world of competitive chicken shows, yet it succeeds most as a documentary about the nature of obsession.
Angry Inuk is a small step forward in acknowledging the complexity of an issue that’s long been portrayed as black and white.
Chavela is a revealing, mostly conventional portrait of one remarkable woman, alongside a culture which at various times embraced, abandoned and then embraced her again.
Afterimage is an austere biopic set in postwar Łódź, depicting the final years of Polish painter Władysław Strzemiński.
The War Show will linger as a bloodied testament to the loss and sacrifice faced by those forced into diaspora.
At Sydney Film Festival, Jeremy Elphick caught up with Kirsten Tan to talk about Pop Aye, the process behind filming the work, and her career as a filmmaker refusing to remain stagnant.
Although Mayhem is far from perfectly executed, the executions throughout the film are near perfect.
Hotel Salvation conveys a philosophical examination of where contemporary India finds itself now and where it sees itself headed in the near future.
PACmen is pitched as a pulling back of the curtain, though it’s unfortunate when all that’s behind it are a couple of crusty mops and a bucket.