Billy Wilder made three films in Berlin throughout his career, each time portraying the capital of Germany in a different light. Together, they retroactively serve as an unintended warning to modern western civilisation.
Ray Milland’s directorial debut A Man Alone is an excellent existential exploration of isolation, both when absolutely alone and when amongst ‘fellow’ humans.
Musical comedies, formal experiments, religion and the state of Portugal.
Bala, that pillar of Tamil New Wave, makes stunning, hardhitting, in your face films that leave you breathless. A modern day Sam Fuller?
Hiroshi Shimizu’s Mr. Thank You is a lovely roadmovie by one of the great Japanese directors, though he’s not yet always recognized as such.
Jessica Gorter’s fascinating documentary explores the new rise in popularity of Stalin in modern-day Russia, to the horror of those who remember his terror.
Vetrimaaran skilfully combines commercial thrills with social realism in his films about men who get in trouble by following the rules of their society.
The festival this year gave insight to the state of Hong Kong cinema under partial Chinese rule, by showing Monster Hunt 2, A Better Tomorrow 2018, The Brink and In Your Dreams.
Featuring teenage rebellion from Thailand and China, South Korea reckoning with its past and many Indonesian films.
As Dunkirk stands to win a few Oscars this weekend, we are finally able to tell the tale of the adventures of Mark Rylance’s body double, for two days of the shoot.
Tamil masculinity and social critique in the commercial cinema of Ram
The International Film Festival Rotterdam (IFFR) is a festival of many pleasures, from South Korea, West Bengal, and France amongst other places.
At the close of Noirvember, Frameland recommends five film noirs from outside of the United States, from the classical period and beyond.
In our second exclusive report on the 30th IDFA, Kaj van Zoelen looks at documentaries new and old dealing with dictators of very different kinds in Filmworker and General Idi Amin: A Self Portrait.
While Thor: Ragnarok gets released worldwide, Kaj looks at an Icelandic trilogy about the religious struggles of those who used to believe in the god Thor. While they kill eachother with axes.
Defending Brother No. 2 deftly asks us what we know about the Cambodian genocide and if we can judge the man held responsible for these crimes against humanity.
How did spies fare in 1960s cinema from behind the Iron Curtain?
A question prompted by two documentaries, Plasticine Family and THE BEKSINSKIS.
Exploring politcal histories through personal family stories in The General and Me and Adriana’s Pact.
What does Julian Rosefeldt’s and Cate Blanchett’s Manifesto art installation/film tell us about art and context?
On the documentary as contemplative art form at the 57th Krakow Film Festival.
Milagros Mumenthaler talked to Frameland about her latest film, The Idea of a Lake, in which she explores the importance and experience of memories, and the tangibility of nature within.
How the state sacrifices the lives of its people for political gain, in 21st century French thrillers.
In which we talk about the making of Mrs. K, Asian cinema and food, censorship and the difficulties of independent film making in modern day Hong Kong.
Kara Hui is an action hero once again in Mrs. K, subverting gender conventions of action cinema by having her as star and be the protector of a happy family and a husband whom she taught how to handle himself.
Dreams and memories define the Chinese and Philippino animation features at the Holland Animation Film Festival 2017.
The entire style of The Apprentice, from framing to camera movement to staging to editing, serves to convey the inner workings of the eponymous apprentice’s mind, who neurotically tries to navigate a modern world of conflicting information and impulses.