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Reviews

HIT THE ROAD | Why We Love This Film // HIFF Selects

Panah Panahi, son of the great Iranian director Jafar Panahi, forever embattled with the government and currently under house arrest, makes a striking feature debut with this charming and deeply moving road movie. HIT THE ROAD expands on the genre, following a family of four–two middle-aged parents and their sons, one a taciturn adult, the […]

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NEPTUNE FROST | Why We Love This Film // HIFF Selects

A visual and aural feast, NEPTUNE FROST is an Afro-Futurist musical that is a cry for liberation through technology. The best science fiction is allegorical to the societal climate of its times, but it is also done so through a white male gaze. From EVERYTHING, EVERYWHERE, ALL AT ONCE to the exemplary works of Octavia

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GIRL, INTERRUPTED (1999): A Gap Year at the Psych Ward

As of May 2022, GIRL, INTERRUPTED is streaming on NETFLIX and PlutoTV. Upon first look, GIRL, INTERRUPTED (1999) appears to be the sister film of the critically acclaimed ONE FLEW OVER THE CUCKOO’S NEST (1975). The way Lisa (Angelina Jolie) enters the ward, kicking and screaming, marks her as GIRL, INTERRUPTED’s McMurphy and the force

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DONBASS (2018): WHY WE LIKE THIS FILM // HIFF Selects

DONBASS, an absurd, political satire that takes place during the wake of Russia’s 2014 invasion of the Eastern European region actually was released stateside in 2019 (after its debut at Cannes 2018). Watching it now as Russia’s invasion of Ukraine is unspooling on our TV screens on a daily basis, lends an unnerving, heightened resonance

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HIFF SELECTS FEBRUARY: ESCAPE FROM MOGADISHU

WATCH ESCAPE FROM MOGADISHU ON HIFF SELECTS DURING THE MONTH OF FEBRUARY Anderson Le  /// February 1, 2022 When cineastes discuss South Korean cinema, especially in the context of hallyu (Korean wave), auteur names like Bong Joon-ho, Kim Jee-woon and Park Chan-wook are ubiquitously brought up. In 2021, Hwang Dong-hyuk, the creator of SQUID GAME

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Sundance 2022 Review: EVERY DAY IN KAIMUKĪ

Alika Tengan’s Every Day in Kaimukī (2022) is the first narrative feature by a Kānaka Maoli filmmaker to premiere at Sundance, but it arrives as part of a cohort of similarly unconventional features from Hawaiʻi, including Christopher Makoto Yogi’s August at Akiko’s (2018) and I Was a Simple Man (2021), and Christopher Kahunahana’s Waikiki (2020).

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