Anthony Chassi spoke to Betzabé Garcia prior to the screening of her films The Kings of Nowhere and Unsilenced as part of the Aftermath series at the Flaherty NYC.
Shorts can be just as good or even great as feature-length films, as is proven by the programming at the Leuven International Short Film Festival.
Sofie Maas spoke with Bruce LaBruce for the Fringe! Queer Film and Arts Festival in London, about his new film It is not the Pornographer that is Perverse, the relation between punk, porn and dadaism, and much more.
In our second IDFA report, we take a look at two very different documentaries about the various aspects of the music industry.
Every year, the International Documentary Festival Amsterdam (IDFA) offers many documentaries about the tragic legacy of wars and dictatorships.
Paul Caspers talked to Lee Myung-se at the London Korean Film Festival about his films, his approach to filmmaking, and much more.
Paul Caspers offers a succinct analysis of Lee Myung-se’s oeuvre at the UK Premiere of his latest short film at the London Korean Film Festival 2018.
Hendrik De Vries reflects on his viewings and experiences at the 39th Edition of the Noordelijk Film Festival.
In its 60th edition, the annual Nordic Film Days Lübeck expanded from five to six days, and had a record number of visitors. The festival may have been bigger, but wasn’t quite better than ever. Notwithstanding a respectable retrospective and several live-scored silent films, it proved hard to find anything substantial in a sea of mediocrity.
A hundred years ago today, on the 11th of November 1918, the Armistice of the First World War went into effect. At Frameland, we celebrate this start of the peace process after 4 years of the most brutal, deadly and exhaustive war the world had ever seen, by celebrating some of the best and/or most interesting films on the First World War.
In both Jim Cummings’ Thunder Road and Alex Ross Perry’s Her Smell, people struggle with their own destructive behaviour but get a chance at redeeming themselves and repairing relationships with loved ones through changing themselves, hitting on thoroughly American themes. No wonder both are playing in the American Indie Competition at LIFF.
These two westerns playing at the Leiden International Film Festival prove the genre to be alive and kicking, subverting genre tropes with various degrees of bite.
Joris Ivens’ 1962 documentary Valparaíso examines the Chilean city of the same name for a meditation on Man’s continuing struggle to survive in the harshest of conditions.
Call Me by Your Name is the type of film that comes around with a stilted sort of neoliberal worldview and claims to open its eyes towards less conservative lifestyles. Instead what it adds to the zeitgeist is regressive depictions of sex, be they gay, straight, young, old, or anything.
What Paul Schrader’s The Canyons has to say about the city of Los Angeles, its movements, traps and trappings.