In telling the story of a man hitherto forgotten by history, director Brian Vincent captures a side of that celebrated scene never seen before, putting all the rest in context and exploring the nature of fame from an unusual perspective.
A madcap romp through the 1980s NYC art scene amid the colorful career of painter, Edward Brezinski, hell-bent on making it.
The film is compellingly, playfully wayward, a documentary-leaning piece so sincere you might not entirely believe it to be a fictional construction until the credits roll.
Beginning at a mangosteen juice factory on the east coast of the gulf of Thailand, we follow brother and sister as their interior worlds reach out to meet one another.
Oran Zegman uses the language of romantic comedies to create a playful atmosphere and persuade us that, one way or another, everything will work out in the end. Then she pulls the rug from under us.
A thirtysomething woman checks herself into a retreat which promises to take less-than-perfect women and transform them into 'marriage material'.
Stars Rodrigo Fernandez-Stoll and Kayla Lorette give the film a lived-in feeling and a lot of heart.
A surreal portrait of married life told across a day in three parts. A couple navigates life's smaller ruptures - the world distorts, the body surprises - but their bond holds, serene and slightly off-kilter.
The film’s strength lies in its approach to capturing two different worlds and establishing, at a visual level, a sense of the culture clash that affects different family members in different ways.
Three rebellious teenage daughters, a restless mother, a father struggling with potatoes, and maybe some elephants, find themselves in Nairobi. What could possibly go wrong?
The small details might include the tape on the tape-deck and the tape within the tape-deck but the big loud details include a quantity of effing and geoffing that sits somewhere between Tarantino and Scotland.
A road trip pushes a dysfunctional family to the brink after their journey descends into a claustrophobic hallucinatory nightmare. The Möbius Trip is a raw and experiential portrayal of a family unit, void of connection, confined in a car and trapped in their fated familial roles.
This is a sweet little film about the dangers of caring too much.
In a small fishing town on the West Coast of Scotland a young Asian woman must decide whether to leave home and family for a new life in South America.
Both Rodriguez and Rohana deliver delicate, nuanced performances in a story that revolves in large part around friendship.
Shy girl Miriam is waiting to celebrate her 15th birthday and she wants to invite her
guy. So far they’ve only chatted online, and the anticipated blind date only complicates
things.
Kadykova has an eye for detail - from the car rubbish that mole has used to decorate his nest and fashion a set of scuba gear, to the menagerie of creatures she creates on the beach
A clear debt is owed to Ferne Pearlstein, whose cinematography is of such quality that the film appears to have fallen through some documentary vortex untouched by time.
The coming of age story of a 13-year-old boy named Cesar, whose awkward bravado and fanciful imagination have earned him the nickname of Mosquito
Both lead actresses are on superb form but Nieto's performance is shattering
Six year old Iván is supposed to be on holiday with his father but calls his mother to say that he's alone on a beach and the phone he's using is running out of power.
Despite the depressing nature of what’s happening at the school, Talankin’s affection for his students and his resilient sense of humour ensure that the film is always engaging.
As Russia launches its full-scale invasion of Ukraine, primary schools across Russia’s hinterlands are transformed into recruitment stages for the war. Facing the ethical dilemma of working in a system defined by propaganda and violence, a brave teacher goes undercover to film what’s really happening in his own school.
An anthropological honesty and something that is a catalogue of intimacies.
The filmmaker's mother, a sociologist, used index cards throughout her career to make notes on all that she read. Now that she no longer has an office her house is filled with these cards.
Morris keeps us guessing as to where the film is going.
Sonya is a super-busy, sought-after model and dating doesn't really fit her lifestyle. A one-night stand with a clumsy but considerate man might just change her perspective.
Director Sayee Gogate and writer Alice Clarke have constructed something that shows a willingness to dig in, to dig deep, and harvest the results.
Beth, a teenage girl in desperate need of a place to stay, visits her estranged grandmother in the remote Scottish countryside. To her surprise, Verity, her grandmother, mistakes Beth for a council worker.
The writer/director achieves impressively high production values for his short and is clearly a man who knows how to surround himself with additional talent.
Through a collage of footage shot by numerous brave protesters, she pieces together a statement about film as identity, in a country where the individual slowly fades away.
Farah, an Iranian woman, is forced to migrate to her private planet to be free. She buys other people’s memories in the form of Super 8 films and records and archives her own to create an alternative history of Iran.
True to tradition, the band in full play is intercut with children in white nighties running down concrete stairs and along corridors in dodgy light. What this means is anyone's guess.
