Delicately unfurling as an introductory vocabulary lesson, one informed by the portraiture at the film’s core — that of the formidable Thi Hau Cao, a…
The extraction of minerals from the Congo has been an ongoing colonial expedition since the Belgian king, Leopold II, personally annexed the country’s land via…
Assaf Gruber’s Miraculous Accident provides us with what we might wish to distinguish as one of the first contemporary Jewish anti-Zionist fiction projects. With this,…
What can we understand as agency, for individuals placed into contexts that are fabricated in dehumanizing forms? How does the capacity for someone to willfully…
Released — under no coincidental pretexts — within the same month as Jacinda Ardern’s autobiographical memoir of her time as New Zealand’s Prime Minister, Michelle…
What Judaism has become in its projection into a popular culture is indisputably a messy construct, to speak in minimizing terms. Putting aside the immediacy…
Rhetorically, the threatening specter of militarism looms just out of frame in Makbul Mubarak’s debut feature, Autobiography, a work extrapolated from the political and ideological…
Bruce LaBruce, the more consistent enfant terrible of Canadian cinema, begins his pornographic Teorema reformation, The Visitor, with direct quotation from Enoch Powell’s “Rivers of…
Caroline Poggi & Jonathan Vinel are a contemporary duo whose work rebukes and inquires into the reactionary, philosophical response to an accelerated technological development, rendering…
The highlight of the 2024 Hot Docs Film Festival, and winner of the Roger’s Audience Award for Best Canadian Documentary and the Hot Docs audience…
Metafiction as a reclamation of the historical and a confrontation of the contemporary malaise, built up across international political discourses of pervading neoconservatism, urgently addressing…
On the introductory page of Israeli weapons manufacturer Elbit Systems’ UAS (Unmanned Aircraft System) page, it states: “The design of our UAS is based on…
Shorthand as a methodology of narrative semiotics is not an inherently troubled strategy through which to divulge information, especially as it regards intimate relationships on…
“The word ‘Gaza’ means ‘pride’” is a statement softly uttered by Piero Usberti, whose gaze will define our capacity to witness in his feature travelogue-cum-poetic…
The staff of In Review Online have come to the collective decision to abide by the international call from Strike Germany. We will be withholding…
Kimi Takesue’s third feature film is a fraught, respectably reflexive process in objectification. Utilizing the much ado of the tourism industry as our subject (through…
The familiar quietude of vacant alleys, secret crooks, and empty restaurants; those shared moments of unspoken reminiscence and silenced discovery. With Here, Bas Devos trains…
The spanning dramaturgy of an ensemble piece is often a precarious balancing act, determined by the intentions of a writer who seeks to utilize the…
Brian Helgeland’s Finestkind is an evasive conundrum, a hodgepodge of augmented dramaturgy that very poorly traverses what should be electric genre terrain. Its general plot…