Fish Tank (2009), British director Andrea Arnold’s second feature, is a brutally tender exploration of adolescence and isolation, where realism and metaphor mirror the struggle between hope and disillusionment.
KVIFF 2025: Toys-R-Us! All of us! That’s just good business. But fear not! Help is at hand: Annapurna Sriram’s Fucktoys cuts to the black, sex-industry heart of capitalism, lays it bare & turns it upside down.
KVIFF 2025: Norwegians! They try to be nice but really they’re dark to the core – just how the Czechs like them!
The tight, almost clinically dark vision of Se meg, the reflective subtlety of The Visitor, the anarchic odysseys of About a Hero and Fucktoys. The highlights of yet another Karlovy Vary International Film Festival, the 59th, are many.
Cannes 2025: Oliver Laxe’s new film Sirât opens in Dionysian madness, sweaty bodies, and the sound of acid bass blaring through the dry vastness of the Moroccan desert. Anarchic, psychedelic, and uncompromising, Laxe moves through the underground like second nature.
Jafar Panahi’s Golden Palm winner It Was Just An Accident is a monument to the human heart’s ability for grace in the face of brutality.
When David Lynch passed away on January 15, 2025, I felt as if I had lost a deformed twin brother whom I admired greatly but also feared.
Do you suffer from an overarching inexplicable modern malaise? No, Michelangelo Antonioni does not offer a solution, but he definitely recognizes your problem!
«It’s when the music stops that the excuses, the rationalisations and obfuscations, rise like scum to the surface.»
Club Zero mirrors the reality of consumer culture, where influencers, self-help coaches, and wellness gurus promote ideologies that conveniently align with products they sell.
«William Heimdal is larger than life, a strange admixture of arrogance and nagging self-doubt, of maturity beyond his years and an almost childish naivety.»
Gilda is the queerest heterosexual film ever committed to celluloid. Yes, this supreme case study of the male gaze is, in fact, very, very gay.
Joachim Trier’s cinematic technique of connecting character psychology with visual environments has a meaningful lineage that can be traced back to one of the pioneers of the French New Wave: Agnès Varda.