AFTER SPRING is an admirable attempt to address the public narrative around the Syrian refugee crisis, yet falls short in its editing and presentation.
South Korean filmmaker Kim Ki-Duk offers few new ideas in ONE ON ONE, with the end result being a cliche-ridden and weak work from one of the country’s most recognised directors.
THE MEND is an odd homage on how Cassavetes and Allen revolutionized the American independent film and New York relationship drama, while in other ways it’s bent on turning the whole formula on its head.
In this week’s shorts segment we look at Jang Hyung-yun’s animation in WOLF DADDY,
The Wolfpack is an oddly crafted fable that examines poetic license and demonstrates the limits of nonfiction in a character study dominated by persona.
Jason Reitman’s latest merges his usual quirky ensemble piece with an overbearing sense of melodrama, derailing any real social commentary this “Internet-age” feature reaches for.
The first real departure from type for Breaking Bad’s Aaron Paul, Sundance hit Hellion is a type of film with roots dating back to Italian neorealism but is ultimately insubstantial and unsatisfying.
Back in the international spotlight following Jodorowsky’s Dune, the Chilean director and cult favourite has released what appears to be his final film, autobiographical in nature and filled with fantastic and theatrical images.
Stephen Belber’s work has moved with him between stage and film for the past decade and a half but his latest, Match, highlights some issues with self-adaptation.
In taking on overpopulation as an international issue, director Jennifer Yu is very concerned with aspects of interregional exchange yet maintains an impressive neutrality in aproaching her subject.