REVIEW: ‘I’m An Electric Lampshade’ (2021) Has A Weak Spark of Life

This tale of accountant-turned-artist is never clearly docudrama or pure fiction, making for a bizarre watch.

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INTERVIEW: Therese Shechter on The Institution of Motherhood in ‘My So-Called Selfish Life’ (2021)

In her paradigm-shifting documentary, feminist filmmaker Therese Shechter explores the lives of childfree women, and examines motherhood as an ingrained societal institution.

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​​BHFF REVIEW: ‘The Sadness’ (2021) Is Tear-Jerkingly Depraved

“In ‘The Sadness’ the fear is not—as Hitchcock might have asserted—what is unseen, but what can be endured.”

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BHFF Review: As ‘Lux Æterna’ (2019) Proves, Bonfires Are So Sexy

“‘Lux Æterna’ associates the cinematic regard with the spectacle of a witch burning, gobbling up misogynistic entertainment at the expense of another’s pain.”

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BHFF Review: In ‘Good Madam’ (2021), Fear Lives In the Fingertips

“Taking up the mantle of other bright stars of the creepy-old-lady-upstairs subsection of the genre, ‘Good Madam’ offers an interesting take on horror that passes, first and foremost, through the hands.”

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VIFF 2021 REVIEW: How ‘The Scary of Sixty-First’ (2021) Red Pills its Audience

New wave body horror goes IRL in Dasha Nekrasova’s impressive directorial debut.

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REVIEW: ‘Luzzu’ (2021) is Tragic, but Doesn’t Understand Why

“With its sort-of-happy ending, ‘Luzzu’ rounds out the soul-crushing personal conflict of the late-capitalist age with a promise of alternate joys.”

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TIFF REVIEW: ‘Ali & Ava’ (2021) Blends Romance and Realism with Mixed Results

“‘Ali and Ava’ is a film that brings Barnard’s usual visual and sonic flair, but it falls slightly short of the mark by not tackling the signifiers inherent in the story’s themes.”

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