A Deadpan Crime Comedy: Quentin Dupieux’s Keep an Eye Out (2018)

By Gary M. Kramer. Keep an Eye Out juggles so many different styles of farcical humor and manipulates the police genre that its few lapses can be forgiven.” French writer/director Quentin Dupieux makes idiosyncratic films that either charm or annoy viewers. Folks who admire the cheekiness of his 2010 breakout […]

A Boy’s Best Friend is His Mother: Ivan Kavanagh’s Son

By Thomas Puhr. A well-crafted genre exercise…[that] ultimately offers mere glimpses of what made The Canal so strange and surprising. One of the great joys of our streaming era is the discovery – usually after scrolling through dozens of bottom drawer B-movies – of an overlooked horror film: one that […]

Dinner Served Darkly: Michael Mayer’s Happy Times

By Elias Savada. There is plenty of dark humor to be found in this Israeli-American hybrid from Haifa-born and Los Angeles-based director Michael Mayer…[a] horror excursion into impolite Los Angeles manners….” Don’t let the title fool you. What looks like happiness on the surface ain’t what’s underneath. Nowhere. No how. […]

Expanding the Dialog on National Cinemas: an Interview with MK Raghavendra

Zibahkhana (Hell’s Ground, Pakistan, 2007) By Devapriya Sanyal. MK Raghavendra, a film critic and leading scholar of Indian cinema, has authored eight books with leading publishers to date. He offers fresh and invaluable insights into the world of Indian cinema not only restricted to studies of Hindi or Bollywood (as […]

An Artist in a Land Divided: Arman Nshanian’s Songs of Solomon

By Ali Moosavi. A praiseworthy debut feature for Armenian director Arman Nshanian.” Songs of Solomon, which is Armenia’s entry for this year’s Foreign Language Oscars, uses the life of the Armenian composer known as Komitas to cover an era of history which includes the Hamidian Massacres of Armenians by the […]

Poetic Cinema: King Hu’s Legend of the Mountain (1979)

By Tony Williams. One in which alert perception and transcendent pleasure in the images offer viewers entry into a new type of cinematic experience.” Shot back-to-back in South Korea with Raining in the Mountain, similar to the earlier complementary productions of The Fate of Lee Khan (1973) and The Valiant […]

A Trance in Monochrome: Simon Lavoie’s No Trace

By Yun-hua Chen. Probing deep into the possibilities of filmmaking, Simon Lavoie invites his audience into a trance-like journey….” Slamdance Film Festival, the premiere festival with the mission of “by filmmakers, for filmmakers”, is unique in terms of its democratic programming and precise policy to support independent filmmaking; it focuses […]