The audience knows where the film is headed long before it gets there, very much like watching a trail slowly derail. As the title indicates, Death For Sale doesn’t provide any happy endings. These men are a product of their society, which unfortunately doesn’t elevate them to fulfil any kind of potential.
A World Not Ours gives us a unique look at a corner of the world we would be unlikely to encounter otherwise, adding a jazzy score and humour throughout to perk up an otherwise grim subject. Informative and grounding, this film shows us how frequently we take identity for granted.
One can deduce First Cousin Once Removed is deliberately disjointed and fragmented, much like Honig’s thoughts and feelings. Through photos and old letters as well as interviews with family and friends, Berliner shows us, and Honig, the man he used to be.
Coming Forth By Day is 24 hours in the life of Suad (Donia Maher) and her mother (Salma Al-Najjar). Suad spends almost all of her…
Love With An Accent could be considered Russia’s answer to Love Actually, comprised of seven short stories, Georgian writer/director Rezo Gigineishvili provides an extremely positive, albeit at times a little implausible, perspective on love.
Max (Danila Kozlovskiy) is living the high life in Moscow. A senior bank manager, he is incredibly wealthy with all the material possessions anyone could ever want. He spends his days working in a building he calls ‘global corporate evil’ and his nights partying with countless women and drugs.
Operatic in its entirety, at its core The Conductor has a heart, but it is surrounded by substantial implausibility that makes it hard to find. It might have grand theatrics, but ultimately falls flat.
The Snow Queen’s world is void of colour, juxtaposed against the colourful landscape of scenes reminiscent of life under the Tsar and the post-Cold War era. There are capitalist and Soviet themes throughout The Snow Queen, creating a journey through the history of an incredibly volatile country.
The Hangover Part III sings a bit of a different tune to the two films that came before it – there’s no big night out, no drugs, no booze and no hangover to deal with. This is a heist film with the same goofy, everything goes wrong, chaotic flavour we’ve seen before.
11-year-old Skunk (Eloise Laurence) witnesses a senseless, brutal attack on one of her neighbours which kickstarts series of events that change the lives of three middle-class families forever.