REVIEW: Moonbound (2021)
One might not have expected an animated children’s film about German children who hang out with a talking beetle, to also serve as a polemic on the conflict between benevolent dictators and despotic freedom fighters. Ali Samadi Ahadi lulls you into a false sense of…
REVIEW: Bye Bye Morons (2021)
You couldn’t blame somebody for expressing puzzlement over the fact that Bye Bye Morons (2020), a zany, lightweight comedy, managed to win seven César Awards. Perhaps the French love their farces more than most, but it’s hard to imagine a world in which this was…
REVIEW: Notes (2021)
Jimmy Olsson’s latest short film seeks to question traditional notions about messy break-ups and the manner in which our emotions can influence the art that we produce. It’s light on dialogue, but if you open yourself up to its loose, playful style, you will be…
REVIEW: Tove (2021)
Tove often feels less like a biopic about Tove Jansson’s career and more like a study of the Finnish art world in the 1940s. Eeva Putro’s screenplay is largely concerned with the conflict between the comforts of traditional family values and commercial art and the…
REVIEW: The Man Standing Next (2021)
The Man Standing Next is loosely based around the assassination of Park Chung-Hee, who served as President of South Korea between 1963 and 1979. He was well known as a dictator who sought to silence his opposition and gain complete control over the military. He…
REVIEW: My Heart Can’t Beat Unless You Tell It To (2021)
The majority of successful horror movies use fantastical concepts to highlight issues that exist within contemporary society. Rosemary’s Baby (1968) famously highlighted the fact that women lacked agency in 1960s America by telling the story of a woman who literally has her baby stolen away…
BLU-RAY REVIEW: But I’m A Cheerleader – Director’s Cut (2021)
The romantic comedy genre tends to cop a lot of flack for spreading negative messages about socially constructed gender roles and topical social issues. People like to point out the fact that it tends to reflect the most traditional, safe ideas and target middle class,…
REVIEW: Les Nôtres (2021)
Les Nôtres is a mystery that faces great difficulties when it comes to deciding where its priorities lie. It starts off strong, as a brooding character piece that examines the psyche of a pregnant teenager who feels vulnerable and afraid, but begins to lose its…
REVIEW: Take Me Somewhere Nice (2021)
Take Me Somewhere Nice might have the prudes in the audience averting their eyes. It is full of scenes of nudity, casual sex between people who barely know one another and the suggestion that two first cousins might be sexually attracted to one another. There…
REVIEW: The Amusement Park (1973)
Very few people can claim to enjoy the experience of growing older and losing the ability to command respect from the people around them. It is funny that we often treat the elderly, with all of their life experience and wisdom, in the same way…
REVIEW: The Story of a Three Day Pass (1968)
We really have to appreciate the fact that IndieCollect went to the trouble of restoring this overlooked experimental feature from the late 1960s. There is something glorious about using new technology to bring back the sounds and sensations of a previous era. You will be…
REVIEW: The County (2021)
The County has come out on the heels of Grímur Hákonarson’s extraordinary success with Rams (2015). That film caused a sensation back in 2015 and it launched him as a talent whose future works would be greeted with great anticipation by audiences around the world….
REVIEW: The Artist’s Wife (2021)
The Artist’s Wife will inevitably draw comparisons with the Glenn Close vehicle, The Wife (2017). It came out just two years after that award nominated hit and both films share thematic similarities and titles that could easily be confused. In this case, however, the comparisons are…
