The Woman in the House Across the Street from the Girl in the Window [2022] ‘Netflix’ Review: It Goes Downhill Rapidly
Netflix’s The Woman in the House Across the Street from the Girl in the Window (TWITHATSFTGITW) is one of the…
Hawk’s Muffin [2022]: ‘IFFR’ Review – A Metaphor for Perpetual Human Conflict Enveloped in Dystopian Science-Fiction
As illustrated by a rhyme written by Vaikom Muhammad Basheer, a writer of Malayalam literature, with which the film opens,…
La Soga Salvation [2022] Review: A Confusing Film, Violent for No Good Reason
When Lusito and his girlfriend, Lia, are engaged in an intimate conversation right at the start of the film, she…
Hannah Ha Ha [2022]: ‘Slamdance’ Review : A quietly observant film on living off the grid never really takes off
If the title, premiering at Slamdance Film Festival this year, reminds you of Noah Baumbach’s Frances Ha (2013), chances are…
Neymar: The Perfect Chaos [2022] ‘Netflix’ Review: It Will Come Across as The Perfect Disappointment
Sportstars transcend sports and become celebrities, prompting the world to forge an interest in them to get to know even…
We are Living Things [2022]: ‘Slamdance’ Review – Aliens searching for Aliens while dealing with existential alienation
We are Living Things Slamdance Review: The word Alien has two distinct meanings – one, a hypothetical or fictional being…
Therapy Dogs [2022] ‘Slamdance’ Review- A dull blur of Energy & Chaos that is ultimately feeble
Ethan Eng’s Therapy Dogs has a deliberate scrappy design and aesthetic to it. There are streaks of waywardness and ample…
Be Right Back [2022]: ‘Slamdance’ Review – Lost amidst its Cryptic posturing
Frauke Havemann’s Be Right Back, premiering at Slamdance, is a curious, odd film. It wears its deliberate elliptical style and…