Hotel by the River (South Korea/France, 2018) [AFI FEST 2018]
Seasons, as self-evident as the point may be, heavily accent the experiences and encounters that can take place between people and the spaces in which...
3 Faces (Iran, 2018) [AFI FEST 2018]
Since the start of his post-ban period of filmmaking with 2011’s This Is Not A Film, Jafar Panahi has more explicitly addressed the heightened porosity...
Sir (India/France, 2018) [AFI FEST 2018]
For her second film but debut fiction feature, which premiered at this year’s Cannes Critics’ Week, writer-director Rohena Gera takes the formula of the servant-master...
Ash is Purest White (China/Japan/France, 2018) [AFI FEST 2018]
Ash is Purest White is no exception within Jia Zhangke’s cinema in terms of its sweeping scope. Platform (2000) charted the late 1970s to the...
The (Ir)reality of Images and Words in Hong Sang-soo’s Claire’s Camera (France/South Korea, 2017) and The Day After (South Korea, 2017) [AFI Fest & SDAFF 2017]
While watching a film by Hong Sang-soo, sooner or later one is hit by the fact that people are wondrously and humourously strange creatures. Fasten...
Marlina the Murderer in Four Acts (France/Indonesia/Malaysia/Thailand, 2017) [AFI Fest & SDAFF 2017]
One of the most revelatory works of the year thus far is Mouly Surya’s third feature Marlina the Murderer in Four Acts, which made its...