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ARCHIVE

  • ‘Priscilla’ (2023) Paints a Delicate Portrait of Girlhood in Graceland
    2nd Nov 2023

    ‘Priscilla’ (2023) Paints a Delicate Portrait of Girlhood in Graceland

    Jennifer Maxwell
  • TIFF 2023 REVIEW: Dakota Johnson Seeks Refuge in a Taxicab in ‘Daddio’ (2023)
    22nd Sep 2023

    TIFF 2023 REVIEW: Dakota Johnson Seeks Refuge in a Taxicab in ‘Daddio’ (2023)

    Jennifer Maxwell
  • TIFF 2023 REVIEW: ‘Dream Scenario’ (2023) is Your Favourite New Nightmare
    21st Sep 2023

    TIFF 2023 REVIEW: ‘Dream Scenario’ (2023) is Your Favourite New Nightmare

    Jennifer Maxwell
  • TIFF 2023 REVIEW: ‘Woman of the Hour’ (2023) Tells the Wrong Story
    13th Sep 2023

    TIFF 2023 REVIEW: ‘Woman of the Hour’ (2023) Tells the Wrong Story

    Jennifer Maxwell
  • TIFF 2023 REVIEW: ‘Gonzo Girl’ (2023) is as Chaotic as the Author It’s Portraying
    13th Sep 2023

    TIFF 2023 REVIEW: ‘Gonzo Girl’ (2023) is as Chaotic as the Author It’s Portraying

    Jennifer Maxwell
  • REVIEW: ‘Beau is Afraid’ (2023) Is A Fever-Dream Odyssey Through Trauma
    4th May 2023

    REVIEW: ‘Beau is Afraid’ (2023) Is A Fever-Dream Odyssey Through Trauma

    Jennifer Maxwell
  • How ‘A Nightmare on Elm Street 3: Dream Warriors’ (1987) Defied the Sequel Curse
    28th Oct 2022

    How ‘A Nightmare on Elm Street 3: Dream Warriors’ (1987) Defied the Sequel Curse

    Jennifer Maxwell
  • VIFF 2022 REVIEW: ‘Stars at Noon’ is an Uninspired Blunder
    16th Oct 2022

    VIFF 2022 REVIEW: ‘Stars at Noon’ is an Uninspired Blunder

    Jennifer Maxwell
  • TIFF 2022 REVIEW: Lena Dunham Rediscovers her Voice in ‘Catherine Called Birdy’ (2022)
    27th Sep 2022

    TIFF 2022 REVIEW: Lena Dunham Rediscovers her Voice in ‘Catherine Called Birdy’ (2022)

    Jennifer Maxwell
  • TIFF 2022 REVIEW: Mia Goth Catches the Light in ‘Pearl’ (2022)
    18th Sep 2022

    TIFF 2022 REVIEW: Mia Goth Catches the Light in ‘Pearl’ (2022)

    Jennifer Maxwell
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