Centered in a sepia-toned frame, two young, Black girls sit on a park bench, their backs to the camera. Another child passing by smears one…
If you’re trying to escape from Anywhere, perhaps the only alternative is… nowhere. This is the agonizing reality that director Alberto Vázquez (Birdboy, Unicorn Wars)…
Only one month after The Christophers opened in theaters, we have been gifted another film about art forgery in the form of Jing Ai Ng’s…
In Annihilation, Florida writer Jeff VanderMeer writes, “When you see beauty in desolation it changes something inside you. Desolation tries to colonize you.” That novel’s…
More an indictment of pop referentiality than a true reflection of psyche, the opening minute of Katarina Zhu’s Bunnylovr edges toward a pat diagnosis of…
Elliot Tuttle’s sophomore feature, Blue Film, arrives hot on the heels of controversy — or so we’re meant to believe. It premiered last year at…
Director Chloé Robichaud’s film Two Women presents as a tale of sexual liberation, wherein two Montréal women trapped in sputtering marriages pursue casual sex that…
Plenty of films have traversed the anxieties of separation and national identity, specifically the question of what happens when a nation breaks up from within,…
There may not be a scientific definition of a “Sundance” movie, but Cole Webley’s debut feature Omaha could go some way to inscribing one into…
One of the biggest British hits when it was released in the country last year, I Swear has finally made its way to U.S. theaters.…
Isolationism breeds a variety of affects that spur those involved toward indelibly discrete action. In many, Sho Miyake’s latest, Two Seasons, Two Strangers, courses the…
Purists will surely find something to cavil at in Aneil Karia’s latest spin on William Shakespeare’s greatest and longest play, Hamlet, as is so often…
Sophy Romvari has used cinema to mine the fractured, seemingly incomplete nature of her family history since her first short film, Nine Behind. In that…
“The working man is a sucker” — so reads the opening title card of Joel Alfonso Vargas’ debut feature, Mad Bills to Pay (or Destiny,…
Excepting the newly bicurious and the chronically polyamorous, most people will adore Erupcja for the wrong reasons. Pete Ohs’ sixth narrative feature has, on the…
Having decided myself to migrate from a Toronto suburb to Montreal in my young adulthood shortly after hearing Visions for the first time, I am…
Few people are immune to the power of a tale thrillingly told. So says Buffalo Bill Cody, narrator of Alessio Rigo de Righi and Matteo…
The most frustrating thing about Igor Bezinović’s Fiume o Morte! is how quickly the novelty of re-creation wears off. The sight of three soldiers staring…
There are two — or if someone is feeling incredibly ambitious, 101 — films to review in Thierry Frémaux’s Lumière, Le Cinéma, a cine-documentary exclusively…
Chaos reigns in Yasuhiro Aoki’s anarchic, wildly imaginative feature directorial debut ChaO, a whirlwind exploration of the breadth of storytelling potential in animated film. Almost…
Living in Brazil in a post-Bolsonaro world clearly feels dystopian to director Gabriel Mascaro, who has now made two consecutive films about a near-future where…