Apinya Sakuljaroensuk, Sirat Intarachote in Jai jumlong | Come Here by Anocha Suwichakornpong | THA 2021, Forum | © Electric Eel Films, Diversion

Restless Ruminations – Come Here (Berlinale 2021 Film Review)

Posted by - March 22, 2021
Anocha Suwichakornpong’s latest feature entitled Come Here opens with a lingering shot inside a moving train-car. The viewer, paralysed in place, is forced to view the endless array of flora gliding past the window frame. Where is the train going? When will this journey end? Is there any real reason to be on this train
Elle-Máijá Tailfeathers in Night Raiders by Danis Goulet | CAN, NZL 2021, Panorama | © Christos Kalohoridis

Allegory & Assimilation – Night Raiders (Berlinale 2021 Film Review)

Posted by - March 20, 2021
The last residential school to close in Canada shuttered its doors in 1996. After decades of dispute and compensation from the Canadian government, the discussion on these horrid institutions still appropriately remains. Since the early 17th century, colonialists have been assimilating Indigenous Peoples and their land; for the sake of selfish gain of property and
Seol Si-yeon, Park So-jung, Bae Yeon-woo in Jong chak yeok | Short Vacation | Bis ans Ende der Welt by Kwon Min-pyo, Seo Hansol | KOR 2020, Generation | © Tiger Cinema & DGC

Snapshotting through Tweenhood – Short Vacation (Berlinale 2021 Film Review)

Posted by - March 6, 2021
The average disposable camera sold at any pharmacy or rundown photo lab contains twenty-seven unique exposures. With a simple wind and click format, there is no room for messing with miscellaneous ISO alterations or other advanced photography techniques. These disposable cameras are designed for amateurs — a device specially invented to create a lens into
The First 54 Years – An Abbreviated Manual for Military Occupation by Avi Mograbi | FRA, FIN, ISR, DEU 2021, Forum | © Avi Mograbi

‘Breaking The Silence’ — The First 54 Years – An Abbreviated Manual for Military Occupation (Berlinale 2021 Film Review)

Posted by - March 6, 2021
In the past few months, after attending a plethora of film festivals, I’ve been noticing a recurring theme of questionable creative decision-making — specifically regarding the justification of a film's chosen medium. Art, as general as that term is, contains a various amount of intricacies that sprout in various different sectors of commercial entertainment. Film,
Masahiro Umeda in Yuko No Tenbin | A Balance by Yujiro Harumoto | JPN 2020, Panorama | © Eigakobo Harugumi

“I’m Trying To Resurrect Them” – A Balance (Berlinale 2021 Film Review)

Posted by - March 5, 2021
The grueling behind-the-scenes production and on-set drama of a typical documentary production is a frequently underrepresented topic. Very little do we see actual B-Roll of crew members actively producing their films, or even a recollection of testimonies and insight on the process for that matter. In many ways, it’s the greatest selling point of A