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.
Canadian cinema
Film Review: Carol Kunnuk and Lucy Tulugarjuk’s Tautuktavuk (What We See)
Inuk filmmakers Carol Kunnuk and Lucy Tulugarjuk’s Tautuktavuk (What We See) is a film about female friendship and how women talk about and around trauma.
Film Review: Jules Koostachin’s WaaPaKe (Tomorrow)
Cree filmmaker Jules Koostachin’s WaaPaKe (Tomorrow) collects testimonials from residential school survivors, their children, and grandchildren to illuminate intergenerational trauma and how Indigenous people are working to heal.
Falcon Lake explores the threshold between childhood and adolescence
Charlotte Lebon’s feature debut is a sensitive look at a pair of teenagers caught between childhood and adulthood, friendship and romance.
I Used to Be Funny is a thoughtful dramedy about PTSD
Ally Pankiw’s I Used to Be Funny addresses coping with PTSD with a light touch, in this story of a struggling female comic.
Graham Foy on The Maiden
Foy mentions that the film’s day-for-night shots were inspired by Reichardt’s First Cow, which does likewise. How did cinematographer Christopher Blauvelt shoot day for night in First Cow? Blauvelt goes deep on this in our ebook on Kelly Reichardt, Roads to nowhere, available here.