For Janina Duszejko, the Polish protagonist of Olga Tokarczuk’s Drive Your Plow Over the Bones of the Dead (Prowadź swój…
In Anna Sofie Hartmann’s debut feature Giraffe (2019), the underwater tunnel being built to connect Denmark with Germany is bestowed with a kind…
Bora Kim’s House of Hummingbird had its world premiere at Busan International Film Festival last October, but I saw it…
“She’s not fit for this life,” says Lola to a doctor as they stand together beside her sister’s hospital bed….
There’s a scene in Agnieszka Smoczynska’s second feature film, Fugue, where the husband of amnesiac protagonist, Alicja (screenwriter Gabriela Muskała),…
Jafar Panahi’s Three Faces begins with a suicide video that may or not be real. A well-known actress, Behnaz Jafari…
Zsófia Szilágyi’s debut film One Day (Egy nap) is a study in the purgatory of motherhood and is riddled with…
I’ve never been sure what lemons are supposed to symbolise and the internet is no help. Are they meant to…
Early on in I See Red People, Bojina Panayotova, the director and protagonist of the documentary, calls her mother, Mirena,…
Ukrainian first-time feature director Marysa Nikitiuk’s When the Trees Fall is a fairytale of gasping, screaming excess, where narrative is…
I’m watching Marketa Lazarova with a friend and we’re halfway through a scene that I consider to be one of…
