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[Review] Pervert Park

There are few conversational taboos more likely to cause arguments than sex offenders. For some, the mere mention of their existence is enough to make blood bo...

[Cannes Review] After the Storm

Can our children pick and choose the personality traits they inherit, or are they doomed to obtain our lesser qualities? These are the hard questions being medi...

[Cannes Review] Risk

Laura Poitras’ greatest strength as a documentarian is winning the trust of high-profile individuals and getting them to appear in front of her camera. In her r...

[Cannes Review] The Last Face

There is a moment in Sean Penn’s new film -- for some reason screening this week in competition in Cannes -- when, having navigated the safe passage of a group ...

[Cannes Review] The Neon Demon

The problem in trying to critically assess Nicolas Winding Refn’s putrid atrocity of a film The Neon Demon is that regardless how much outrage is thrown at it, ...

[Cannes Review] Gimme Danger

If there is one blemish in Jim Jarmusch’s exceptional filmography, it’s his first foray into documentary: 1997’s little-seen Year of the Horse, a surprisingly i...

[Review] Weiner

It's often said that no writer can craft a character as complex and compelling as the subjects in some of our best documentaries. Enter the consummate example: ...

[Cannes Review] The Red Turtle

Motion, love for the Gaia, and lush orchestral music provide the backbone of Michaël Dudok de Wit’s The Red Turtle, a dialogue-free, feature-length animation ab...