
What, when and how to debut: Alva (2019)
The first feature for any director is a special thing, but it is also often highlighted as one of the utmost achievements in filmmaking....

Film as a way to understand oneself: Here for Life (2019)
As the lights came on after Here For Life (2019) last week, a wash of cast (more, subjects or protagonists, as the film’s a documentary)...

How Our Mood Effects What We Watch
On exiting the screening of The Last Man in San Francisco my brother and I had hugely different reactions. He was hugely emotionally...

(How) Should a Documentarian Frame Themselves?: What You Gonna Do When the World’s on Fire? (2019)
Roberto Minervini’s fifth feature, and third documentary, presents its viewers with numerous intimate portraits of the Black experience...

Why Do We Cry? The Responsibility Behind Documentary Emotion in For Sama (2019)
As these s(t)imulated emotions are directly related to entertainment cinema, why do they exist in a film sold on different values?

Loveless: Forcing attention towards the irrelevant.
Loveless, like any of Andrey Zvyagintsev’s films, is by no means an easy watch. It tests you emotionally, empathetically, attentionally...

Ryuichi Sakamoto: Coda – Closing Your Eyes in the Cinema
Although I watched this film nearly a month ago a specific moment continually springs to mind, however, unlike many films in the genre,...

BlacKkKlansmen—From Laughter to Tears in a Minute; Viewing in Context
Sitting down at my hostel dining table in Portland to begin this article, moments after walking out of the theatre, I look to my left and...

Incredibles 2: How to make a children’s film a ‘family film’
I have said it before a number of times; ‘family films’ which I have seen during my turn into adulthood have always underwhelmed me but...

Can Dialectics Break Bricks?: Creative dubbing and Détournement
The film ends with a question; “How can we truly utilize cinema”—posing a question not of how we can use it in our everyday but how we...

Play: Racism Off-Screen
Play is one of those rare experiences that reveals it’s bold message and mastery in hindsight, but while you are in it you feel extreme...

Ma: Viewing Art for a Limited Time
Often when I enter a gallery or am confronted by a piece of visual art I am confronted by a feeling of intriguing incomprehension, but as...

Virgin Stripped Bare by Her Bachelors: Contradicting Style
Hong Sang-soo is a fascinating filmmaker, his style is so strongly defined by a lack of devices and manipulation, devoting himself...

Close-Up: Is Anything Real?
“Aren’t you acting for the camera now?” Kiarostami asks Hossain Sabzian, an attempted fraudster posing as famed Iranian director Mohsen...

The Square: A Perfect 'Moral of the Story'?
[Slight spoiler warning; found throughout] Ruben Östlund’s The Square presents us with quite a clear central message; do we, and to what...

Porto: Extending the Film into the Credits
Porto, a tender and melancholic recollection of lost love, slowly moves to black after its 1h15 runtime. But wait, as the credits start...

It’s not what but how: The Assassination of Jesse James by the Coward Robert Ford
This film is phenomenal for a number of reasons; its amazing cinematography from Roger Deakins, its fantastic performances especially...

Coco: Watching Films Intended for Another Audience.
About a third into Coco and I find myself watching closely, but bored. The story and sleek but fantastical animation, like most Pixar...

Untitled: Who is the Author of a Dead Man’s Film?
Countless artworks will never reach our senses, given up on, unreleased or unfinished in the creator’s time. Once discovered should we...



















