Val says: “Salari’s first film is a powerful look at the cosmetic surgery epidemic in Tehran. She gains amazing access into surgical ’boutiques’, the influencer-doctors that run them, and their clientele. In one notable scene, Salari takes the viewer inside
Val says: “Barbara Kopple and her team take us into the beating heart of New York City’s delivery culture, the delivery workers who staff UPS, Amazon, and the many food delivery apps that New Yorkers depend on daily. It’s a
Val says: “Beautiful and devastating; this one’s sure to be a favorite. It’s a more sincere turn from Kore-eda, and rightly so considering his source material. I loved it’s soaring score, touching relationship between the two main characters, and how
Val says: “‘Jeff said ‘This just wasn’t ready for TIFF,’ and I think I couldn’t say it better. A trio of musicians recon with their deadly choices as they spend a (excruciatingly long) few hours in a hotel room preparing
Michael says: “This strong tale of racial injustice takes place in the 1970’s, following the lives of three young women, sisters are were separated as children, each following different paths in Los Angeles after a relocation program in the 50’s
Michael says: “Arthur Harari, screenwriter for ANATOMY OF A FALL, has directed a film adapted from a graphic novel written by he and his brother Lucas, aptly called THE UNKNOWN. A science fiction tale only as a premise, the film explores
Michael says: “Spanish films SISTERS (HERMANAS), written and directed by Ione Hernández, was a competently-made film with a screenplay that lacked the needed emotional impact to make it really succeed. Two sisters, Chelo and Marta, bring their families together to
Michael says: “David Turpin’s turgid debut was not for me. More of a tone poem than a film, it was bewildering as to why this AIDS story that embraces every trope and slows its pacing down to the most sluggish
Michael says: “Marie Kreutzer’s GENTLE MONSTER could have been a great film, but by tackling a very difficult subject with a procedurally straight-forward tone undercuts some of the emotion. Still, there was a lot to like about this film about
Michael says: “Moving, optimistic portrait of a young Irish man turning after 18 after living his childhood in foster care after being separated from his younger brother and his social worker. Danny falls into a bit of trouble after hardships