Review: Corpus Christi (2019)
This thought-provoking character study about an impostor who becomes a surprisingly likable priest is also working as a satire to the clerical distance between church and the parish.
Review: Cleaners (2019)
While the visual is ambitiously rare, the anthology feels a little uneven in portraying raw, teen angst which provides throwback moments and social commentary at the same time.
Review: Just 6.5 (2019)
There’s always surplus of energy in this Iranian thriller about drug trades—electrifying at the first half and harrowingly heartbreaking on the latter half.
Review: John Denver Trending (2019)
However depressing and frustrating, this Filipino internet drama is a thought-provoking discourse about internet’s trending mentality.
Review: My Extraordinary Summer with Tess (2019)
Sam is preparing for the worst; and, Tess is preparing for the best. When they meet each other, emotion begins shifting and thoughts about life begin to unravel.
Review: Roh / Soul (2019)
While wearing its inspirations on the sleeve, Emir Ezwan’s patient direction and his audacity to go gore help Roh achieves the unsettling height it aims for.
Review: Charlatan (2020)
Jan Mikolášek’s biopic by Agnieszka Holland provides more questions and ambiguity that root from legends rather than treating the figure with a deeper insight as an individual.
Review: Martin Eden (2019)
Luca Marinelli leads in what started out as a star-crossed love story that grows as a thought-provoking discourse about the rise and fall of socialism.
Review: The Dead Queen / Pedro e Inês (2018)
Pedro and Inês’ love story is a lot, but feels superfluous and gimmicky rather than compelling.
A Season with: Younger (2015 – 2019)
Coming from the vision of Sex and the City creator, creator, Younger almost breathes the same air as the cult series in celebrating the agelessness and complexity of adult life.
Review: Little Joe (2019)
Little Joe’s ambiguity wouldn’t fool anyone, except for sheer frustrations over the direction of its intriguing sci-fi horror premise.
Review: Beginning (2020)
Beginning with fire and ending with dust, there’s almost a divine force seaming Dea Kulumbegashvili’s story of a female struggle among patriarchal societies that often neglect abusive cycles.
Review: Shiva Baby (2020)
Emma Seligman’s poised debut is a chaotic, claustrophobic dramedy thick with Jewish tradition and thought-provoking sexual tension.
Review: She Dies Tomorrow (2020)
Amy Seimetz’s vision of an infectious fear of dying is in the no-man’s land between ridiculous and scary.
Review: Quo vadis, Aida? (2020)
Quo vadis, Aida? retells the moments leading up to the 1995 Srebrenica Massacre with sensitivity and demand to remember.