Film Festivals
Film Inquiry spoke with Edward Berger, director of Conclave, for the Toronto International Film Festival.
Both The Assessment and Emilia Pérez demonstrate the versatility of a festival like TIFF, which is always inclusive of all genres and subgenres of cinema.
On this TIFF report, Kristy Strouse reviews The Mother and the Bear and Shepherds – two unforgettable films on a path to self discovery.
Both The Substance and The Last Showgirl evaluate mortality by leaning on their respective stars’ relationship with celebrity in real life.
Both TIFF films yearn to be more than what they actually are, but alas, gets stranded in a middle ground of mediocrity.
Conclave and We Live in Time are prime examples of solid filmmaking, that will likely be successful regardless of what accolades they end up garnering.
An unexpected and comical disclosure of one couple’s path, Paying For it leaves a lingering impression.
Wala has crafted a fine story, and impresses in his feature film debut with the TIFF film: Shook.
For his first report from Toronto International Film Festival, Wilson Kwong looks at two films based on true events.
The Melbourne International Film Festival is in its 72nd year with a program of global features, shorts, documentaries, VR experiences, and classic movies.
Writer-director Aviv Rubenstien’s new horror film, “Lizzie Lazarus,” premiered at the 10th annual Popcorn Frights Film Festival in 2024.
From this year’s New York Asian Film Festival we take a look at Pattaya Heat, Twilight of the Warriors: Walled In & Brush of the God!
Witches may not be the most talked about film at this year’s festival, but it is certainly the most vital.
My Sweet Land is a somber warning call that its events are not contained in one place or time, they are the story of humanity.
For the viewer who doesn’t mind overt imitation– Beacon, with its twists, turns, and choppy seas, may hold some interest.