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TIFF 2023 Review: “Not a Word”

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“Not a Word,” The latest film from Slovenian-German director Hanna Slak, presents a psychologically profound examination of the troubled dynamic between a mother and her quiet son. Set between Germany and France’s wintery, frigid landscapes, the drama delves into the effects of passion and emotional neglect on its central characters. The story captures how the mother’s professional ambitions lead to a growing distance between parent and child, ultimately impacting the son’s emotional growth. With its jarring narrative, “Not a Word” delivers a commentary on passion, connection, and parenting. It’s a compelling look at a woman torn between her passion and the real-world emotional needs of her child that she’s failing to meet.

TIFF 2023 Review: “Hajjan”

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With “Hajjan,” Egyptian director Abu Bakr Shawky offers a seemingly straightforward and conventional sports narrative about the high-stakes world of camel racing in Saudi Arabia, only to subvert subgenre expectations as the film progresses. Five years after his acclaimed debut at Cannes “Yomeddine,” Shawky delivers another thought-provoking coming-of-age feature, this time focusing on the way the relationship between a boy and his beloved camel is tested by the society they live in.

TIFF 2023 Review: “The Monk and the Gun”

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In his second feature film, “The Monk and the Gun,” Bhutanese filmmaker Pawo Choyning Dorji presents a multifaceted story of various characters, each with a unique perspective on the influence of globalization on Bhutan and the country´s transition to democracy in 2006. Against the stunning mountainous landscapes, this culturally rich film offers a brilliantly written critique of a society caught between the perseverance of their culture, Westernization, and enforced ‘modernity’.

Venice 2023 Review: “The Summer with Carmen”

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Zacharias Mavroeidis’ “The Summer with Carmen” is a milestone work of queer cinema that seamlessly captures the nuances of gay life. The film takes us on a journey through a day at Athens’ queer beach, exploring queer-related themes such as hookup and relationship culture, family acceptance, and representation. The story begins as a lighthearted comedy, but soon transforms into an emotional character study that offers a genuine glimpse into the complex lives of gay individuals. Ultimately, as one of the most major queer films in recent memory, the film delivers a thoroughly examined portrayal of gay friendships that is both touching and thought-provoking.

Venice 2023 Review: “Housekeeping for Beginners”

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“A gay man and a lesbian woman walk to the altar together” might sound like the setup for a joke, but in Goran Stolevski’s serious drama “Housekeeping for Beginners,” it’s a central moment in a jarring journey into the world of marginalized people in contemporary North Macedonia. Making a return to his motherland after having directed two successful queer features in Australia, Stolevski brilliantly maneuvers through the intersecting lines of discrimination faced by the LGBTQ+ and Roma communities, delivering a daring portrayal of a group of people who do not fit in.

Venice 2023 Review: “Heartless”

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“Heartless” is the debut feature from the Brazilian director duo Nara Normande and Tião. Prior to this film, Normande had made three short films, including the critically acclaimed animated short “Guaxama,” which won awards at many film festivals. “Heartless” premiered at the 2023 Venice Film Festival and is based on the directors’ 2014 short (also co-directed by Tião) of the same name. The film follows a girl from a fishing village, as she prepares to leave for college in the city of Brasilia. During her last few days in the village, she becomes intrigued by a strange girl. While exploring societal constructs, going as far as delving into the origin of toxic masculinity, in addition to a character analysis that shows how such traits persist in future generations, the film leaves many other narrative threads underdeveloped, leading to a rather chaotic experience at times.

Venice 2023 Review: “Behind the Mountains”

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Mohamed Ben Attia’s latest film, “Behind the Mountains,” showcases a bold departure from his previous acclaimed works, “Hedi” and “Dear Son,” by incorporating a fantastical component into his signature social realist style. While the final act may have some narrative shortcomings, the movie ultimately delivers a moving story about the intricacies of a father-son relationship. Through a blend of reality and fantasy, the film explores the complexities of human connections and the desire for escapism.

Venice 2023 Review: “Snow in Midsummer”

“Snow in Midsummer” by Keat Aun Chong is a deeply affecting film that delves into an underrepresented piece of history. Inspired by true events and literary sources, the film weaves a tragic narrative around the 1969 racial riots in Kuala Lumpur, Malaysia, also known as The 13 May Incident. The film plays at the intersection of art and history, serving as both an emotional journey and an unsettling social commentary, shedding light on an often underexplored and oftentimes misrepresented part of Malaysian history.

Venice 2023 Review: “God is a Woman”

Andrés Peyrot’s “God is a Woman” is an impactful documentary that serves to empower a community, but also teaches an essential lesson about ethical filmmaking. Premiering as the opening film of the Critic’s Week of the Venice Film Festival, this Swiss-Panamanian creation avoids the traditional ‘outsider-looking-in’ approach, instead providing the Indigenous Kuna people of Panama with agency to shape their own narrative.

Venice 2023 Review: “Photophobia”

Ivan Ostrochovský’s and Pavol Pekarčík´s documentary “Photophobia” premiered at the Venice Days sidebar of the Venice Film Festival with the intention of giving viewers an intimate look into the lived experiences of war. Centered on 12-year-old Niki and his family, who are confined to a metro station in Kharkiv due to the ongoing conflict between Russia and Ukraine, the film offers strong moments of emotional weight and provides insight into the lives of some of the regular Ukrainian people who are affected by the war. Despite a limiting runtime that unfortunately causes many of the stories to fall short of full realization, the two directors manage to still create a convincing anti-war portrait.