“Song Without a Name” (2020) confronts the persistent horror of child trafficking that has been ongoing in Peru for decades. It is a gut-wrenching situation but the film has strangely few emotionally evocative moments. As a debut film, it is an impressive achievement but could have been even more powerful with just a little more focus on the heart of the story, Georgina (Pamela Mendoza). Continue reading Review: Song Without a Name
This strange age we’ve found ourselves in–lockdowns and quarantines abound–has granted me the opportunity to dive deep into the oeuvre of Hong Kong’s cinema god, Wong Kar-Wai. “As Tears Go By” marked Wong’s debut to film two decades ago; with it, was the emergence of an auteur–as well as a resounding Honk Kong new wave. I saw this film for the first time yesterday. Seeing as this month’s Their League theme is “Noirvember”, a piece on this gem appeared to be apropos . Continue reading Noirvember Retrospective Review: as tears go by (1988)
Artist Adam Cullen (Daniel Henshall) says early in “Acute Misfortune” (2020) that he paints because it’s the only job in the world where “your employer wants you to die.” In other words, his work will increase in value upon his death which he takes as justification for his blatant desire for it to happen. The film documents what transpires when a young reporter attempts to put down in words the life of this anguished, talented Australian version of Jackson Pollack in all his rebellious, self -destructive fury. It is not an easy watch but the riveting performances of the two leads make it an emotional roller coaster of a biography that risks making its subject unlikable, even if he is inspiring. Continue reading Review: Acute Misfortune
The last time director Thomas Vinterberg and actor Mads Mikkelsen paired up, we were given the riveting feature “The Hunt” (2012). Now the two have reunited for another round (pun intended) with “Another Round” (2020), an unusual but deftly crafted look into the infallibility of masculinity. It is a film that recognises the vulnerabilities in people and explores the complications that arise from them, as well as the strengths and weaknesses of chosen coping mechanisms. Continue reading Another Round: #LFF20 Review
Writer-director Lavie’s filmography to date is mostly based in short films – “Honeymood” is her second feature – and this does feel like it might have been better if the film had been trimmed down to a shorter running time. The film’s conceit is strong and the performances, for the most part, might be enough for some to stick with it, but the expectation for a film premiering at the London Film Festival under the “Laugh” strand deserves a little more on screen at which to, well, laugh. Continue reading Review: Honeymood #LFF2020
“Undine” (2020) is a puzzling wee film. Brought to us from the director of “Transit” (2018) it is a film that has a lot going for it, be it its tone, themes and central characters. It certainly has a plethora of skill to its craftsmanship, but I don’t know if it entirely meshes together. Upon my own viewing of the picture, I personally found enough decent ideas in it to enjoy it, and I would still call it an ambitious project. But it doesn’t hold up as well on reflection. Continue reading Undine: #LFF20 Review
A quiet and mysterious snapshot of the juncture between desperation and hope, Jessica Hausner’s “Lourdes” sneaks its emotional impact under the radar and gives no answers. We are left pondering life’s deep questions. Continue reading Retrospective Review: Lourdes
The 30th October will see the release of Melina León’s unique, stunning and truly moving debut feature film, “Song Without a Name”. Based on a true story, “Song Without a Name”, was nominated for the prestigious Golden Camera at last year’s Cannes Film Festival. Hauntingly beautiful, the film has been shot in stark black and white, and features a powerful performance from newcomer Pamela Mendoza, who is a young mother whose baby is stolen. The film also features a stellar performance by Tommy Párraga, who plays a journalist hitting endless Kafkaesque dead ends, as he burrows into the corruption and strife of a country in turmoil. Continue reading First Look: Song Without A Name
Films like “The Karate Kid” are becoming more uncommon as they lack the slice-of-life sensibility and often rely on aggression and blatancy to appeal to the martial arts crowd. When I heard the news about the martial arts comedy/drama “The Paper Tigers” (2020) by Vietnamese-American filmmaker Tran Quoc Bao was premiering at Fantasia Film Festival this year, it piqued my interest. It promised all the things I had hope for in martial arts films while showcasing Asian-American talent. Will “The Paper Tigers” live up to its promise? Continue reading Fantasia Festival Review: The Paper Tigers
In her feature film debut, “Wildland”, Jeannette Nordahl takes audiences on a haunting rollercoaster. Ida (Sandra Guldberg Kampp) moves in with her aunt, Bodil (Sidse Babett Knudsen) after her mother (and Bodil’s sister) dies in a car accident. At first, Ida is delicately embraced by Bodil and her three sons. But as the film progresses, Ida learns that the club Bodil runs and owns is not what sustains the family. Rather, Bodil and her sons, Jonas (Joachim Fjelstrup), David (Elliott Crosset Hove), and Mads (Besir Zeciri) are loan shark debt collectors. As the matriarch, Bodil forces her sons to be the muscles of the family crime operation. As a new member of the family, Ida starts to join in on the business, but learns that the high stakes also come with real consequences. Continue reading Fantasia Festival Review: “Wildland” (Kød & blod)
In Their Own League 