It’s hard to ignore the feeling that Małgorzata Szumowska and Michał Englert’s The Idiot(s) hates its subjects. The film purports to chronicle the events around Fyodor…
Rob Savage’s Other Mommy can best be described as confident: a bold step in the direction of an ample, maximalist horror. But it is seldom…
In Victoria Hely-Hutchinson’s documentary Vacances, time is measured by changing bodies. As the summers roll by over the course of nine years, lines in backs…
It’s hard to talk about Richie Mehta’s Phoolan without first talking about Bandit Queen and Arundhati Roy. In 1994 in India, writer Arundhati Roy was…
It’s all too easy to feel at home in Casey Walker’s Home Bodies. Red (Emma Ho) and Blue (Ian Ho) have lived all their days in…
There is something about horror maestro Takashi Shimizu’s The Mouths that feels as foundational as myth. The film’s premise is simple enough: a group of university-aged…
At best, Wiebke von Carolsfeld’s Someone’s Daughter can be described as well-intentioned. Critically, however, it is existentially foolhardy and morally naive. Carrying a juvenile sort…
Kasper Kalle’s No Rest for the Wicked is, on the face of it, dark and grim; apt, for a vampire horror with Gothic sensibilities. The film,…
Watching Peter Hengl’s mid-length film The Fated Hour feels like handling a delicate porcelain doll: a precious encounter with a time-worn magic. The film, commissioned…