Festival Review: The Misplaced World / Die Abhandene Welt (2015)
★★☆☆☆
Despite all-singing performances from Katja Riemann and Barbara Sukowa, Margarethe von Trotta’s The Misplaced World still makes for a jarring thriller.
Mark Wilshin
Festival Review: Fassbinder To Love Without Demands (2015)
★★★★☆
With unique archive footage, Christian Braad Thomsen’s Fassbinder To Love Without Demands delivers an honest and intelligent portrait of the German director.
Love Is Strange (2014)
★★★★★
A poignant New York story of love in a dark time, Ira Sachs’ Love Is Strange makes for a fine romance of the most human kind.
Festival Review: Sworn Virgin / Vergine Giurata (2015)
★★★★☆
With a great performance from Alba Rohrwacher, Laura Bispuri’s Sworn Virgin is a stunning but underwhelming glimpse into celibacy in the Albanian mountains.
Festival Review: Elser / 13 Minutes (2015)
★★★☆☆
What can change a man from pacifist to freedom fighter? Oliver Hirschbiegel’s 13 Minutes pays tribute to the German resistant Georg Elser.
Festival Review: Gone With The Bullets (2014)
★☆☆☆☆
A carnival of singing, dancing, car chases and bullets, Wen Jiang’s Gone With The Bullets gets lost in an amorphous hall of mirrors.
Festival Review: Eisenstein In Guanajuato (2015)
★★★★☆
A visual extravaganza of the Russian director’s sexual awakening in Mexico, Peter Greenaway’s Eisenstein In Guanajuato is a shameless return to form.
Festival Review: Aferim! (2015)
★★☆☆☆
A black and white romp through 19th century Romanian feudalism, what Radu Jude’s Aferim! lacks in substance, it makes up for in style.
Festival Review: 54 The Director’s Cut (2015)
★★★★☆
Chosen to premiere at Berlin (home of Cabaret), Mark Christopher’s 54: The Director’s Cut recreates a bygone age of synth-infused hedonism.
Festival Review: Nasty Baby (2015)
★★★☆☆
The comic story of a New York gay couple trying for a baby with their 30-something best friend, Sebastián Silva’s Nasty Baby falls apart in the final reel.
Festival Review: Under Electric Clouds (2015)
★★★☆☆
A murky wander through Mother Russia past, present and future, Alexey German’s Under Electric Clouds is an ambitious feat of national navel-gazing.
Festival Review: Body / Cialo (2015)
★★★☆☆
Anorexia, ghosts and the broken bond between father and daughter, Malgorzata Szumowska’s Body is a finely acted black comedy about laying grief to rest.
Festival Review: As We Were Dreaming / Als Wir Träumten (2015)
★★★☆☆
The very German story of rudderless youth in the wake of reunification, Andreas Dresen’s As We Were Dreaming makes for an uninspired and unoriginal adaptation.
Festival Review: The Club / El Club (2015)
★★★★☆
A scurrilous comedy about degenerate priests, Pablo Larrain’s The Club rides a dark political undercurrent as God’s rejects refuse to see the light.