Diane says: “I was eager to see this film, having read Alexandra Fuller’s 2001 memoir when it came out. It’s a story of the end of British colonialism in Africa through the eyes of a young girl, Bobo. “Director/screenwriter Embeth
Brett says: “I go to festivals. I watch movies. I write reviews. I don’t make up the titles, so give a guy a break. From the mind of first-feature writer/director Aimee Kuge, CANNIBAL MUKBANG stretches the boundaries of mukbang entertainment:
Chris says: “Simon (Théodore Pellerin), a talented young performer in Montreal’s close-knit drag community is immediately smitten by Oliver (Félix Maritaud), a fellow drag queen freshly transplanted from France. They pursue a whirlwind romance while also collaborating together onstage, although their
Brett says: “From director Nicole Riegel, DANDELION is the latest installment of musical drama that showcases the title fictional singer-songwriter in the familiar position of struggling artist. In fact, much of the plot within is familiar territory for many audiences.
Michael says: “Atom Egoyan’s first dozen or so films were all fascinating, compelling works that solidified him as one of those filmmakers whose work I will always see. His last four or five have been more erratic, or worse, sometimes
Brett says: “A person kills herself/himself and then a stage play breaks out. So, it’s Chekhov or Ibsen in reverse, right? Throw in a seance to bring back said dead person from the grave and BROOKLYN 45 might just fit
Brett says: “The genre western-comedy does not exactly have a long list of acclaimed representatives to its credit. In fact, the all-around rugged, image-conscious, hidden-emotions heroic quality of westerns usually means that attaching the word comedy to it is an
Diane says: “My 4th film ‘at’ Sundance. I’m thinking that maybe it wasn’t a good idea for Alice Englert (daughter of our esteemed Jane Campion) to go all in as writer, director, co-lead, and composer of this mother-daughter-themed film. “Jennifer
Diane says: “STILL SMALL VOICE is my second film at virtual Sundance. “I watched this doc about hospital chaplaincy because I went thru some of that training myself. Because chaplaincy training involves so much inner work (for both students and
Diane says: “Director Rodrigo Reyes uses some unorthodox methods in this doc, about a young Mexican man in California, Sansón, who is in prison without parole. Reyes, as part of his day job, served as Sansón’s court interpreter years ago.