From The Banjo Boys beginnings as a “mini-doc” to its fruition as a feature film, Johan and Neil Nayar join musicians Yobu Maligwa and Yosefe Kalekeni on their journey from simple craft to sensational art.
In The Red Hangar, the first day of Chile’s 1973 coup becomes a tightening moral trap, as an Air Force captain watches military routine turn into open repression.
Fatih Akin’s visually beautiful wartime drama, Amrum, turns a child’s survival into a memory handed from one talented filmmaker to another.
In Mascha Schilinski’s moody psychological drama Sound of Falling, we sense that a place can outlast the lives shaped inside it: what happened there does not disappear.
One World Human Rights Film Festival’s political force is in its willingness to remain in contradiction, where justice can arrive too late and survival can depend on fragile acts of self-invention.
Without digging too deeply into the subject, as it warrants, The Sandbox contends that border zones are experimental grounds for hi-tech surveillance of vulnerable people.
In one of A Fox Under a Pink Moon’s sharpest insights, imagination is one of the few available means of surviving a crisis.
With crime drama Josephine, Beth de Araújo has crafted a film that first and foremost doesn’t need to be reckoned with so much as sat with.
The Huntress casts aside simplified ideas about revenge and observes different ways to respond to a culture of misogynistic violence.
Filmmakers of the horror movie Rock Springs sped past indicators to elevate the subject, drove right over the cliff, and plunged to rock bottom.
Activist-cum-stand-up comedian Noam Shuster-Eliassi documentary Coexistence, My Ass! makes it painfully clear how complicatedly funny/not-funny coexistence can be.
True to its deceptively simple nature, Lily Platt’s Crisis Actor is a bold and captivating reflection on addiction, albeit of a different kind.
