‘The Wanting Mare’ Leaves us Wanting More
While the completely fictional world creating in 'The Wanting Mare' is astonishingly rendered, its story leaves a lot to be desired....
Berlinale 2020: ‘Gunda’ Will Make You Rethink Your Meat Consumption
Through stark black-and-white images, the unorthodox 'Gunda' forces you to recognise the sentience of animals....
These ‘Once Upon a Time in Hollywood’ Faux Movie Posters Take You Back in Time
Quentin Tarantino’s latest cinematic installment Once Upon a Time in Hollywood has been receiving rave reviews since its release. The initial posters for the film...
Berlinale 2019: ‘Greta’ Is an Important Tale, Turgidly Told
'Greta', inspired by the famous performance by Garbo in 'The Grand Hotel,' shares its inspiration's lifeless quality....
Berlinale 2019: ‘The Awakening of the Ants’ is a Fine Study of Personal Change
'The Awakening of the Ants' subtly critiques Costa Rican gender relations through one woman's personal change....
Berlinale 2019: ‘Far From Us’ is a Tedious Experience
'Far From Us', now premiering at the Berlinale Forum Section, is a truly life-draining cinematic experience....
Berlinale 2019: ‘Retrospekt’ is Downright Irresponsible
The perils of always trying to do the right thing are brutally examined in Retrospekt, a domestic violence drama with shades of John Cassavetes. Taking morally...
Berlinale 2019: Gender is Horror in the Innovative ‘Normal’
Tracing gender structures from the womb to marriage, Normal shines a light on how gender is constantly reinforced in modern Italian society. Taking a panoramic...
Berlinale 2019: Sex and Bureaucracy Intertwine in ‘Divine Love’
'Divine Love' is as sexually graphic as it is aesthetically pleasing, yet it has little substance beneath surface thrills....
Berlinale 2019: ‘The Last To See Them’ Wastes its Intriguing Premise
'The Last to See Them' has a fascinating idea at its core, but is let down by its uninteresting characters and storyline....
Berlinale 2019: ‘Kinder’ is a Sweet Portrayal of Youth
'Kinder' offers a fantasy of youth in the German capital, which doubles up as an advert for the city's transit system....
Berlinale 2019: ‘Demons’ is a Poor Attempt at Horror Comedy
'Demons', a horror comedy from Singapore, only lands half of its jokes and even less of its horrors....
Berlinale 2019: ‘Vanishing Days’ is Chinese Poetry at its Best
'Vanishing Days' joins 'Crosscurrent' and 'Long Day's Journey into Night' as another beautiful and poetic Chinese film....
Berlinale 2019: ‘Jessica Forever’ is Nonsensical Trash
If you like films that stretch the very limits of what French cinema can do, don't watch 'Jessica Forever.'...
Berlinale 2019: Subject and Artist Unite in the Novel ‘Selfie’
'Selfie' takes an unorthodox documentary approach, allowing its subjects to film themselves through their iPhones....
Berlinale 2019: ’37 Seconds’ is a Classic Japanese Crowdpleaser
'37 Seconds' is a touching film about living with cerebral palsy, that beguiles thanks to its unconventional narrative....
Berlinale 2019: ‘Progress in the Valley of the People Who Don’t Know’ is a Quiet Triumph
The Valley of the People Who Don’t Know refers to the area near Dresden in East Germany that’s furthest away from West Berlin and the...
Berlinale 2019: ‘Anbessa’ Critiques a Country through the Eyes of a Child
'Anbessa' takes an honest look at Ethiopia's bold housing scheme by seeing how it impacts the most vulnerable....
Berlinale 2019: ‘Acid’ is a New Take on Russian Masculinity
'Acid' is an exciting debut by Aleksandr Gorchilin, which plays something like a Russian version of 'Trainspotting.'...
Berlinale 2019: Murakami Meets Linklater in ‘And Your Bird Can Sing’
If last year’s Burning didn’t quite scratch that Murakami itch, try And Your Bird Can Sing. The inspiration of the Japanese writer is all over...