News & Updates

Brett says: “DADDIO is the first feature film from director Christy Hall. This is a one-location, two-character film that unfolds within a cab ride from JFK Airport to Hell’s Kitchen. Hall is a playwright through and through, so it may

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Brett says: “HUMANIST VAMPIRE SEEKING CONSENTING SUICIDAL PERSON has one of the year’s top tier titles, and first-feature director Ariane Louis-Seize offers some memorable cinematic moments to accompany it. The title covers the premise in full, as Sasha, a young

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Brett says: “Joanna Arnow’s feature film debut comprises a series of threads, crossing and weaving, but never quite seamless from scene to scene. The film employs a fragmented editing approach, almost as if audiences are picking up pieces here and

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Brett says: “Keys–check. Ticket–check. Popcorn–check. One hour into a film called KILL and there is still no killing–wait, what? Such is the case with this title out of India in what might be described as an ambitious effort, at best.

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Brett says: “The title DICKS: THE MUSICAL may actually be the least profanity-laced part of this film. That alone might be the benchmark by which a person could determine whether the film is to one’s liking or not. The film

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Chris says: “This is Hirokazu Kore-eda’s first film set in his native Japan since SHOPLIFTERS and also his first that he hasn’t written himself since MABOROSI, his 1995 feature debut. Rest assured, MONSTER is completely in the director’s wheelhouse of

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Diane says: “There’s a game going on here at Chlotrudis North: ‘What else didn’t you like about I DON’T KNOW WHO YOU ARE?’ “Some sample answers: 1. It was like a public service announcement about HIV 2. Scenes that went

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Brett says: “Wim Wenders’ PERFECT DAYS is a depiction of the ordinary, transforming it into a feeling of extraordinary through the power of cinematic language. It is a film with very limited dialogue from the protagonist Hirayama, a janitor who

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Brett says: “Director Carolina Markowicz follows 2022’s genre-bending plot from CHARCOAL with yet another single-word title film. Similar to that first feature, this film allows audiences to interpret the ominous title to apply to quite a few different plot circumstances. The

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Diane says: “HIS THREE DAUGHTERS is a study in the distance between who we want to be and how we appear to others. “I was drawn to this at TIFF because I’m one of three daughters who, like the three

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Diane says: “THE PEASANTS is by the creators of the award-winning LOVING VINCENT. Directors Dorota Kobiela and Hugh Welchman (a married couple) adapted a 4-volume, 1,000-page Polish novel—a story of 19th century rural life: farm, mill, church, tavern. “Like VINCENT,

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