The current acclaim for Canadian cinema is, like many attempts to promote a new wave, a snapshot of a rising generation that aside from nationality…
No, it’s not the Brendan Fraser vehicle, nor is Boris Karloff back from the dead; Tom Cruise, mercifully, is nowhere to be found. An original…
Can there be any reward for tolerance in an intolerant world? Fatih Akin’s Amrum opens with the arrival of German refugees to the titular German…
Tarik Saleh’s Eagles of the Republic, the final installment in the Swedish-Egyptian filmmaker’s Cairo trilogy following 2017’s The Nile Hilton Incident and 2022’s Cairo Conspiracy,…
If Peter Farrelly acquired any auteurist pretensions after undeservedly winning the Oscar for Best Picture with his insincere race-relations road movie Green Book (2018), he…
Existing at the nexus of fashion, popular music, and horror, David Lowery’s Mother Mary, a multi-genre whatsit, proudly wears its pretentiousness on its (couture) sleeve.…
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…
It wasn’t too surprising to watch Bob Odenkirk transition from a comedian to a sturdy dramatic actor; that kind of thing happens all the time.…
“The working man is a sucker” — so reads the opening title card of Joel Alfonso Vargas’ debut feature, Mad Bills to Pay (or Destiny,…
Josh Heap’s City Wide Fever is the best kind of micro-budget, DIY indie film, one that doesn’t attempt to hide its poverty of means but leans into…
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…