We review Caitlin Cronenberg’s directorial debut, Humane, a huis clos horror film set in a near future of highly encouraged assisted death finds a rich family of awful pepole tring to decide who among them to kill.
LGBTQ
Film Review: M. H. Murray’s I Don’t Know Who You Are
M. H. Murray’s directorial debut, I Don’t Know Who You Are, does for access to PEP what Never Rarely Sometimes Always did for abortion access.
Love Lies Bleeding is a slick, cheeky thriller about lesbian codependency
Unlike the harrowingly exquisite Saint Maud, Rose Glass’s second feature film, Love Lies Bleeding, is just as likely to make you giggle as it is to make you gasp.
Berlinale Review: Klára Tasovská’s I’m Not Everything I Want to Be
Klára Tasovská’s inventive documentary I’m Not Everything I Want to Be chronicles the life of photographer Libuše Jarcovjáková as she tries to become who she wants to be amidst oppression.
Berlinale Review: Dag Johan Haugerud’s Sex
In queer filmmaker Dag Johan Haugerud’s film Sex, two nameless middle-aged white men, both straight-married chimney sweeps, grapple with their views on gender roles and sexual identity in contemporary Oslo.
Berlinale Review: Anthony Schatteman’s Young Hearts
Anthony Schatteman’s warm and lovely debut feature film Young Hearts is a rare coming-out and coming-of-age film about characters as young as fourteen. The film Young Hearts screens in the Berlinale’s Generation K+ sidebar.