Babatunde Apalowo’s feature debut, All the Colours of the World Are Between Black and White, is a moving portrait of gay desire, class, and…
If the recurring discourse cycles of online spaces, namely on Twitter, are to be believed, we are in for some seriously prudish times. Every…
In an edition of surprises, programming eclecticism, and a refreshingly measured jury performance, Nicolas Philibert’s Golden Bear win for his latest documentary might yet…
Dutch director Sacha Polak set a very high bar for herself with Hemel, her 2012 debut feature. Raw and at times agonizing, Hemel is…
The familiar quietude of vacant alleys, secret crooks, and empty restaurants; those shared moments of unspoken reminiscence and silenced discovery. With Here, Bas Devos…
From the first moments of Tótem, it’s easy to think about Lucas Dhont, which is never a good thing. Like Dhont’s recently released Close,…
As the star of Hong Sang-soo has improbably grown, the traditional (and often erroneous) stereotypes lobbed against his films have stayed stuck in the…
Berlinale’s Encounters section has largely been a platform for lesser known filmmakers since its inception, though it’s also seen its fair share of high…
Director Kiohara Yui’s last feature, Our House — which debuted in 2017, and which this writer briefly reviewed here at InRO when it played…
Jennifer Reeder’s new film Perpetrator has received some very strong reviews at Berlinale, and to be honest, it takes a while to figure out…
The logline of The Adults, Dustin Guy Defa’s follow-up to Person to Person (2016), does not appreciably differ from that of a prototypical Sundance…
Hong Kong auteur Soi Cheang is a modern B-movie master whose works have dipped into an assortment of subgenres. Cheang’s aesthetic language is in…
Premiering in the Berlinale’s Forum section, Claire Simon’s documentary Our Body follows her 2021 docudrama I Want to Talk About Duras. The title of…
In Christian Petzold’s latest film, sexual tensions rumble with such intensity that the only natural outcome is the eruption of a devastating forest fire.…
With Past Lives, director Celine Song has a fine story on her hands — and she knows it. A decade after immigrating with her…
Classified as a documentary in the Berlin festival catalog, Tatiana Huezo’s new film The Echo is more accurately clarified as a scripted film shot…
With his latest feature, director Robert Schwentke has moved away from his Time Traveler’s Wife, Divergent, Snake Eyes-days of bad blockbuster filmmaking. Seneca —…
In experimenting with narrative in the cinema, we take on a capacity for expression that currently has no real affinities or structures. The imagination…