(no title)

Berlinale 2024 Review: ¨Memories of a Burning Body¨

_{© Substance Films}

“Memories of a Burning Body,” the sophomore feature by director Antonella Sudasassi Furniss, where the Costa Rican director once again takes the stage at the Berlinale Film Festival, shines with the director’s powerful approach to storytelling. Following the acclaim of her first feature, “The Awakening of the Ants,” for its strong feminist lens, Sudasassi Furniss returns with a narrative that pushes the boundaries of how the internal world of women, particularly those of advanced age, is portrayed in cinema even further.

Berlinale 2024 Review: ¨In the Belly of a Tiger¨

“In the Belly of a Tiger,” the sophomore feature by director Siddharta Jatla, takes audiences into the bleak realities of a Northern Indian village, grappling with poverty and the extreme choices some are forced to make in the name of survival. This Indian film, inspired by true events, unflinchingly portrays the life-and-death struggles of its characters, who are caught in a cycle of exploitative labor and increasing desperation. The narrative’s core, centered around the haunting possibility of self-sacrifice to a tiger for government compensation, introduces a unique blend of class drama and horror elements that sets the stage for an intense exploration of human resilience and familial bonds.

Berlinale 2024 Review: “I Saw Three Black Lights”

_{© Natalia Burbano / Contravía Films}

Set against the serene backdrop of the Colombian jungle, “I Saw Three Black Lights” unfolds as an evocative exploration into the realms of heritage, mortality, and the profound connection to ancestral lands and culture. Directed by Santiago Lozano Álvarez, this film transcends the boundaries of conventional storytelling, creating a mesmerizing audiovisual experience that honors Afro-Colombian and Indigenous cultures and confronts the ominous threats of external violence.

Berlinale 2024 Review: “Arcadia”

_{© Foss Production, Homemade Films, Red Carpet Films}

Yorgos Zois’s newest film, “Arcadia,” is a moving examination of human loss and resiliency that makes a significant addition to the ever-innovative Greek film landscape. With remarkable performances from Vangelis Mourikis and Angeliki Papoulia, the film takes a unique turn that both distinguishes it from other movies as well as elevates a genre that is prone to recurrence. With an intriguing and captivating viewpoint, Zois creates an artfully structured narrative that ties in common experiences.

Rotterdam 2024 Review: “78 Days”

_IFFR

“78 Days,” the debut feature film by Emilija Gašić, premiering at the 2024 International Film Festival Rotterdam (IFFR), is a remarkable Serbian production that delves into the heart of a family’s experience during the NATO bombings of Yugoslavia in 1999. Through an evocative narrative captured in the style of a home video, Gašić brings to the screen a story that intertwines the innocence of youth with the harrowing realities of war, making it a true standout example of found-footage filmmaking.

Rotterdam 2024 Review: “Steppenwolf”

_IFFR

Adilkhan Yerzhanov’s latest film, “Steppenwolf,” is an exploration of trauma, violence, and masculinity, presented through the story of a mother looking for her missing child. Set against the backdrop of a violence-ridden small town engulfed in riots, the film follows Tamara, a traumatized woman in a nearly catatonic state of dissociation, as she searches for her son, Timka. Tamara’s desperation leads her to enlist the help of a brutal criminal-turned-investigator, offering him a reward to bring her child back. This unlikely partnership sets the stage for a fascinating journey through a landscape of despair and brutality.

Rotterdam 2024 Review: “How to Have Sex”

_IFFR

Throughout history, a great number of stories have been told through the male gaze. Even when female characters are centered, they’re often shaped by the desires of male artists. As a result, these works predominantly cater to male audiences. Yet, as the contemporary sociopolitical climate increasingly amplifies women’s voices, the cinematic landscape adjusts accordingly. Consequently, the voice of female creatives is amplified, which allows them to reclaim their own
narratives. British writer-director Molly Manning Walker’s feature film debut, “How To Have Sex”, is a prominent work in this fight for accurate representation. The director delivers an exclusively female perspective, free from male appeasement.
Set during summer on Crete, famous for its nightlife scene, the plot follows three British friends on holiday. Determined to have an unforgettable vacation, and longing for escapism, the three focus on sex, booze, and endless partying. However, beneath the sweaty neon-lit nights, the girls are challenged by the difficulties that come with growing up as women in a patriarchal society.

Rotterdam 2024 Review: “The Ballad of Suzanne Césaire”

_IFFR

“The Ballad of Suzanne Césaire” by Madeleine Hunt-Ehrlich is a profound exploration of the life of a groundbreaking yet often overlooked intellectual figure. The film, lasting a concise 75 minutes, adeptly brings to the forefront Suzanne Césaire’s multifaceted identity as an anti-colonial writer, educator, and feminist, but also a real person with her own inner world. Hunt-Ehrlich’s work is a compelling reclamation of Suzanne’s rightful place in history, which has been obscured by the shadow of her more famous husband, Aimé Césaire.

Leiden 2023 Review: “Femme”

Based on their 2021 Bafta-nominated short of the same name, Sam H. Freeman and Ng Choon Ping’s debut feature, “Femme,” is a thrilling and thought-provoking film that delves deep into the themes of trauma, identity, and retribution through the eyes of a queer character who refuses to be silenced or erased, even after having faced immense tragedy.

Directed by: Sam H. Freeman, Ng Choon Ping
Year: 2023
Country: UK
Length: 99 minutes

At the heart of this gripping narrative is Nathan Stewart-Jarrett, delivering a remarkable and fearless portrayal of Jules, a London drag performer whose life is irrevocably altered by a brutal hate crime. This horrific incident takes a heavy toll on Jules’ mental well-being, leaving him with deep traumas. Months later, he embarks on a calculated mission to seek revenge against his assailant, played with conviction by George MacKay, after a chance encounter at a gay sauna.

Nathan Stewart-Jarrett’s performance as Jules is a tour de force, embodying the multifaceted identity of this queer character with authenticity. He perfectly oscillates between the fierce persona of his drag queen alter ego, Aphrodite Banks, captivating the audience during electrifying performance sequences, and the raw vulnerability and fear that accompany life as a Black queer individual in a society filled with queerphobia.

George MacKay’s portrayal of Preston, the conflicted and closeted aggressor, is equally captivating. MacKay skillfully navigates Preston’s complex psyche, torn between his violent past and an unexpected attraction to Jules. As the film progresses, Mackay also manages to add a layer of satire to his character, as he tries to keep his life as a hypermasculine straight man and the ‘down-low’ love interest of Jules, making for a hilariously relatable film, despite all the intensity, at times for many queer people who have ever encountered someone like this. The palpable and unsettling chemistry between the two actors gives rise to a riveting, twisted relationship that keeps viewers on the edge of their seats throughout the film.

The film is an unflinchingly intense and violent cinematic experience, offering a stark and unvarnished depiction of the perils faced by openly queer individuals, a necessary portrait in today’s socio-political climate, where queer people are increasingly targeted for their identity. The film fearlessly confronts the graphic and harrowing consequences of both external and internalized homophobia and transphobia. Moreover, it boldly challenges preconceived notions of masculinity and femininity, highlighting their dual nature as sources of empowerment and oppression, depending on the context and individual.

This audacious film prompts profound contemplation on the concepts of justice and forgiveness, raising questions about whether revenge can ever truly mend the wounds of trauma.

“Femme” is a dark and uncompromising queer revenge saga that shines a spotlight on the pervasive discrimination endured by many members of the queer community, particularly those who defy Western norms regarding gender identity and performance. The film marks a daring and original debut for directors Sam H. Freeman and Ng Choon Ping, who present a bold vision and unwavering commitment to storytelling. Femme is an impactful work that makes its audience think about the vital issues it bravely addresses. Its unapologetic exploration of the queer experience in contemporary society reminds viewers of the ongoing struggle for acceptance and justice that queer people have to deal with.

“Femme” screened at the 2023 Leiden International Film Festival as part of the festival’s First Feature Competition

Leiden 2023 Review: “The Feeling That the Time For Doing Something Has Passed”

“The Feeling That the Time For Doing Something Has Passed” is the hilarious and provocative debut feature film by Joanna Arnow, who wrote, directed, edited, and starred in this unconventional comedy. The film is as uproariously hilarious as it is provocatively transgressive and personal. Arnow stars as Ann, a character who is far removed from your typical rom-com protagonist. Trapped in the monotony of a soul-sucking 9-to-5 job, Ann seeks out a series of BDSM encounters with various men, each promising an escape from the dull throes of corporate life and providing a glimpse into the protagonist’s wildest fantasies.