Rating: 4.0★
There's a particular kind of pressure that comes with sitting down to watch a film that half your friends have handed a perfect score. Scrolling through Letterboxd and seeing Elem Klimov's 1985 war epic sitting proudly as one of the highest-rated films of all time,
Rating: 4.0★
There is something profoundly absurd about standing before the Great Pyramids of Giza, the Colosseum, or the Louvre, monuments that have survived millennia of human history, only to watch hundreds of people experience them exclusively through the glowing rectangle of a smartphone on a selfie stick. It is one of
Rating: 4.0★
There's a particular kind of pressure that surrounds a film like this. When a director of Hayao Miyazaki's stature comes out of retirement, again, to make the film he's apparently been building towards for decades, the weight of expectation is immense. The Boy and
Rating: 4.0★
One of the most devastating pieces of cinema I have ever experienced. That is not hyperbole, and I want to be upfront about that before we go any further. Bahman Ghobadi's Turtles Can Fly is the kind of film that sits in your chest long after the credits
Bergenfield Film Festival
Brianna Lee has been incredibly busy lately. Her feature The Troll premiered at Raindance this year and her short The Camper is playing the horror circuit, and she does very nearly every job on her films herself. Home is something else entirely. It is an eight-minute short, having had
Rating: 4.0★
Some films don't just stay with you. They haunt you. Jasmila Žbanić's Quo Vadis, Aida? is one of those films. From its opening scenes, you feel the dread settling in, and it never, ever lifts. This is one of the most gut-wrenching viewing experiences I&
Rating: 4.0★
That final frame. I'm not going to describe it, I'm not going to hint at it, I'm just going to tell you that it stopped me cold. In a single, perfectly held image, A Moment of Innocence earns everything that came before it, including
Rating: 4.0★
I went into I, Tonya fully expecting to be mildly entertained by a straightforward ice-skating biopic and mildly bored by the bits in between. I was only a toddler when the Nancy Kerrigan incident was dominating global headlines, so my knowledge going in amounted to little more than a
Rating: 4.0★
There's a scene early in Capernaum that sets the tone for everything that follows: a hardened, streetwise twelve-year-old boy, sitting in a courtroom, announcing that he is suing his own parents for bringing him into the world. It's one of the most staggering opening
Rating: 4.0★
Let me get this out of the way upfront: yes, The Last Samurai is Americanised. Brazenly, unapologetically, Hollywood-to-its-bones Americanised. And I'm not going to pretend otherwise, because that would be dishonest. The sweeping orchestral score, the larger-than-life heroics, the Western outsider who arrives
Rating: 4.0★
What does it do to a person, being told before you can even speak that your death is already written? That question sits at the heart of Amjad Abu Alala's Sudanese debut, and it never lets go. From the moment a Sufi sheikh delivers his prophecy over a
Rating: 4.0★
There are films you watch and forget by the following morning, and there are films that crawl under your skin and refuse to leave. Obsession is very much the latter. I went in completely blind, which I'd strongly urge you to do as well, because the experience is
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