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| BEST OUT THIS WEEK: Young Mothers • Big Boys Caught Stealing • Motel Destino ALL REVIEWS > |
Showing posts with label olivia colman. Show all posts
Showing posts with label olivia colman. Show all posts
Thursday, 28 August 2025
Critical Week: Nice kitty
Friday, 8 November 2024
Critical Week: Are you not entertained?
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| BEST OUT THIS WEEK: No Other Land Piece by Piece ALL REVIEWS > |
Thursday, 30 November 2023
Critical Week: Make a wish
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| BEST OUT THIS WEEK: May December • Femme Fallen Leaves • Totem We Dare to Dream ALL REVIEWS > |
Wednesday, 2 August 2023
Screen: August TV Roundup
T H E S A G A C O N T I N U E S
The Bear: series 2
There's a different energy this season, as the characters rally around a sense of purpose, looking to the future rather than simply trying to stay afloat. But the hope is tinged with a real sense of fear that makes each of the characters powerfully sympathetic. This allows the still-naturalistic performances to feel more relaxed and introspective, with stellar work once again from Jeremy Allen White, Ayo Edebiri and Ebon Moss-Bacharach. Generously, each member of the ensemble (plus astonishing guest stars) is given the chance to shine brightly in a nuanced, specific journey as part of the larger effort to reinvent and relaunch the restaurant in an insanely short period of time. Where this goes is funny, thrilling and unusually bittersweet, as the gifted cast and crew refuse to dodge the difficult stuff. (Hulu)
This unspeakably warm and involving series picks up right where it left off, following a group of 16-year-olds who feel like they don't quite belong for one reason or another. The romantic storylines continue to add textures this season, most notably as Nick and Charlie (Kit Connor and Joe Locke) face some very big issues as they grow closer. And Elle and Tao (Yasmin Finney and William Gao) finally confront the unspoken feelings they have. Terrific adult roles remind us that these questions aren't limited to adolescence. The range of serious topics this series deals with is impressive, offering layers of hope to viewers without ever pushing a point. It's also played to perfection by a seriously gifted cast who play teens with all their messiness in tact. Plus the fabulous Olivia Colman. Unmissable. (Netflix)
series 3
The amusing tone of the first season is an increasingly distant memory as everything turns almost ludicrously serious, the mythology becomes woefully dense, the plot splinters all over the place and everyone begins to speak in raspy whispers rather than their actual voice. This dialog is also packed with more wacky names than any mere mortal can keep track of. The central plot is still involving, despite the sideroads, layers of villainy and hyper-violent, over-staged battles. Oddly, the romance between Henry Cavill's Geralt and Anya Chalotra's Yennifer is a nonstarter; more involving is the complex link between Jaskier (Joey Batey) and Radovid (Hugh Skinner). While it's rarer now, the offhanded banter still holds the interest because it highlights engaging relationships over dully uninteresting lore. (Netflix)
It's another bone-dry dose of pointed humour from Tim Robinson, taking aim at pop culture with lacerating satire about a range of worthy targets, from dating shows to pharmaceutical adverts, with a special emphasis on squirm-worthy office politics. These are short, sharp sketches with often absurd flourishes, and they're produced impeccably. The way they interweave, reference each other and sometimes overlap is both hilarious and often unnerving. It's the kind of show that provokes nervous giggles rather than hearty laughter. We can see ourselves in these exaggerated characters, which is both amusing and terrifying. (Netflix)
The Other Two: series 3
Increasingly wacky, this show has been written and performed from the first episode with lightning-sharp wit. The jokes seem to get broader with each episode, heading in sometimes ridiculous or even surreal directions as the writers ramp up their satirical take on the authentically insane world of celebrity and fame. Helene York and Drew Tarver are excellent as the desperate siblings who are unlikably ambitious but still sympathetic. Molly Shannon continues to steal the show as their now uber-famous mother. And a collection of hilarious side characters (including many A-list cameos) livens up scenes with astute gags and exaggerated absurdities. This show often begins to feel like it will spin out of control at any moment, which makes it unmissable. (Max)
For its fourth and final season, this series follows the bright but impulsive Devi (Maitreyi Ramakrishnan) through her fourth and final year of high school, continuing to trace the trail of carnage she generates in both in her friendships and romantically. And it's still inexplicably narrated by a wryly hilarious John McEnroe. The whole point of this series is to watch Devi growing up and forming increasingly serious relationships, and its her connection with her single mother (Poorna Jagannathan) that becomes the strong focal point here. A range of sometimes wildly nutty side characters maintain their own enjoyable trajectories while interacting with Devi's, and there are superbly dramatic, romantic and sexy moments scattered through these episodes, plus a lot of very witty writing. (Netflix)
The Crowded Room
While series creator Akiva Goldsman works far too hard to obscure the story with a fragmented narrative, this show is involving thanks to lead performances from Tom Holland and Amanda Seyfried as a criminal suspect and the psychiatrist trying to work out how his mind ticks. The plot's big secret is obvious very early on, and it's a mistake to wait until the sixth episode to confront it. If you stay with it, the show gets much better as it begins grappling with bigger themes about childhood abuse and mental trauma, which makes the second half of the series properly resonant and powerful. Holland and Seyfried play their complex roles beautifully, and the production is packed with clever visual touches that add to the internalised impact. (Apple)
Kim Cattrall gets a superb starring role as the founder of a high-end cosmetics brand who is trying to reconnect with her loyal customers. Her friendship with perky overachiever Marco (Miss Benny) is refreshingly offbeat and uneven, nicely refusing to progress as expected. Scattered through 10 sparky episodes are plenty of nice surprises in the interaction, narrative and relationships. The show plays out like an updated variation on Ugly Betty, and it feels perhaps a bit pointed in its gender politics, but the underlying ideas are important. This adds a hint of depth to a show that's otherwise unashamedly cartoonish. These are characters who are able to grow and change, so by the end most have taken a proper journey. Bring on season 2. (Netflix)
Yet another Marvel product that can't decide whether to focus on big action set pieces or character drama, so it isn't satisfying on either front and it ends up feeling like a plot transition between other movies and series. When the people are at the centre of the scene, this is riveting, played to perfection by the likes of Samuel L Jackson, Olivia Colman, Ben Mendelsohn, Don Cheadle, Emilia Clarke and Kingsley Ben Adir. But each episode seems to require a bombastic action set-piece that's efficient enough but also painfully uninteresting (super-powered people bashing each other is so boring!). And the overall plot, about an alien race warring with itself over whether to annihilate humans to take over Earth, carries absolutely no tension in a Marvelised universe. (Disney)
There's a dopey charm to this silly action comedy starring Arnold Schwarzenegger as a CIA spy who is sent on one last mission before he retires, during which he discovers that his daughter (Monica Barbaro) is also an ace operative. The banter is sharp and goofy between protective father, independent daughter, oblivious family, goofy colleagues and absurdly handsome villainous mastermind (Gabriel Luna). It's one of those shows in which no other spies seem to exist in the agency, so both spycraft and romances are limited within this ensemble. Amid some rather oddly nasty violence, there's plenty of comic relief (mainly from sidekicks Fortune Feimster and Travis Van Winkle). All of which leaves this show as a bit of mindless fun. (Netflix)
Kaley Cuoco, Chris Messina and Tom Bateman are a solid enough central trio to overcome this crime comedy's outrageously contrived story points. The idea is so absurd (struggling couple launches a true crime podcast with a real serial killer) that it's impossible to take anything that happens remotely seriously. Which is fine for a comedy, but becomes a problem when events take some properly serious turns. All of this is assembled and performed with such a chirpy blast of energy that it's easy to simply sit back and enjoy each ridiculous predicament these people get themselves into. The red-herring fantasy sequences are so overdone that they undermine any attempt to get into the groove of the story. But the actors sell it. (Peacock)
Somebody Somewhere: series 1-2
I arrived late to this series and found it to be my kind of vibe. The writing and performances are delightfully unforced, creating characters who bring the audience into each scene so we can laugh with them at the absurdities of their lives. Bridget Everett shines as Sam, whose sardonic wit is a survival mechanism in rural Kansas. Her connections are the heart of the show, played out in mini-adventures that bristle with humour and emotion. Sam's interaction with sister Tricia (Mary Catherine Garrison) is played with unusual complexity and texture. And Jeff Hiller is wonderfully bemused as her new best pal Joel. This is a gorgeous show that could run and run. (HBO)
Having lost my interest in zombies a few seasons into The Walking Dead, I avoided this show when it first came out. Then it was nominated across the board in the Dorian Awards, so I decided to take a look before casting my vote. The first two episodes were as tedious as I thought they'd be, and then episode three came along, deepening the dawning connection between the fabulous Pedro Pascal and Bella Ramsey while tracing a gorgeous decades-spanning subplot featuring the great Nick Offerman and Murray Bartlett. The banter between Pascal and Ramsey is what kept me watching the series, plus some terrific guest stars (who knew Melanie Lynskey could be so gleefully vile?). This is far more involving than the action nonsense that consumes far too much screen time. (HBO)
GUILTY PLEASURES: Drag Race All Stars, Too Hot to Handle, Love Island.
NOW WATCHING: Star Trek: Strange New Worlds (2), Minx (2), Good Omens (2), And Just Like That (2), The Afterparty (2), What We Do in the Shadows (5), Black Mirror (6).
COMING SOON: The Continental, Ashoka, Only Murders in the Building (3), The Morning Show (3), Physical (3), Sex Education (4).
Previous roundup: JUNE 2023 >
Wednesday, 12 October 2022
LFF: Own the night
Empire of Light
dir-scr Sam Mendes; with Olivia Colman, Micheal Ward 22/UK ****
Writer-director Sam Mendes packs perhaps too much into this personal 1980s drama. Infused with a love of cinema, the film's central storyline also takes on loneliness, racism, sexual harassment and mental illness. It's rather a lot for such a warmly beautiful film, but if any actress can bridge all of this material together it's Olivia Colman, who radiates emotional resonance that brings focus to each theme and makes this well worth a look.
dir-scr Alejandro Loayza Grisi; with Jose Calcina, Luisa Quispe 22/Bol ****
The title of this Bolivian drama is the Quechua word for "our home". Set in the highlands, it focusses on the details of life for an elderly couple that is grappling with an extended drought. Writer-director Alejandro Loayza Grisi assembles this in a documentary style, creating a vivid depiction of the local culture. It's a gorgeous slice of life with properly momentous undertones.
dir-scr Lola Quivoron; with Julie Ledru, Yannis Lafki 22/Fr ***
Diving headlong into a subculture, this French drama spirals around a young woman who is obsessed with riding off-road motorbikes in street gangs. There's little context to the characters or situations, and the script's plot feels rather over-familiar as it develops a series of moral conundrums. But writer-director Lola Quivoron blasts energy through each scene, which makes the film feel urgent and involving. And biker-turned-actress Julie Ledru has terrific screen presence.
And four films I saw previously...
dir-scr Ruben Ostlund; with Harris Dickinson, Charlbi Dean 22/Swe ****
Another lively provocation from Swedish filmmaker Ruben Ostlund, this pitch-black comedy overflows as big ideas are laced through an ambitiously epic tale. It's an exploration of the divisive nature of class, gender, race, disability and language. And as the plot spirals through its pointed chapters, the film can also be seen as a social media parable. It's messy, but the way it challenges the viewer is also exhilarating... FULL REVIEW >
dir Darren Aronofsky; with Brendan Fraser, Hong Chau 22/US ***.
Based on Samuel Hunter's play and retaining a stagey claustrophobia, this pointed drama is unusually contained for Darren Aronofsky. It's about how people impact each other for good and bad, and is likely to divide viewers along lines of optimism and cynicism. Although few will be able to resist a startlingly winning performance from Brendan Fraser, even from within an enormous fat suit. And the deeper ideas strike a nerve... FULL REVIEW >
dir Maksym Nakonechnyi; with Rita Burkovska, Liubomyr Valivots 22/Ukr ****
Beautifully observed with a sharp attention to detail, this Ukrainian film is packed with powerful issues but plays out matter-of-factly, without exaggerated melodrama. Set during Russia's long campaign in Donbas, before this year's invasion, the film is less timely than timeless, with scenes that are packed with complex issues and personal nuance. And as it takes on bigger ideas, this clear-eyed but over-serious film becomes often unnervingly resonant... FULL REVIEW >
dir-scr Fyzal Boulifa; with Aicha Tebbae, Abdellah El Hajjouji 22/Mor ****
Grounded and earthy, this Moroccan drama finds resonance in a complex relationship between a woman and her teen son. It's the kind of film in which the audience must work to discover deeper truths about the events depicted. The premise feels bracingly realistic, impossible to predict as it cycles through events that are hopeful and darkly troubling. And this authenticity in the story and characters bravely takes on the system... FULL REVIEW >
All London Film Festival reviews, once they're uploaded, will be linked to SHADOWS' LFF PAGE >
Monday, 20 June 2022
Screen: June TV Roundup
Heartstopper
This British romance is one of the most joyous TV series in recent memory, following a group of teens navigating relationships, with added complexities as they are still discovering who they are and whom they're attracted to. The characters are so bracingly realistic that it's easy to identify with all of them, as the writing, direction and acting are packed with knowing details. Young leads Joe Locke and Kit Connor deserve to become stars, and it will be very cool to watch them grow up over the next two seasons. But then everyone on-screen is excellent, including a terrific side role for Olivia Colman. (Netflix)
Oscar Isaac is the main reason to watch this rather nutty action series about a man with multiple personalities who is the superpowered human avatar to a tetchy Egyptian god. This allows Isaac to have a lot of fun with his multi-faceted role in a show that's deliberately bonkers. The plot is enjoyably freewheeling, with some big stylistic flourishes that add visual panache to a range of adventures as our hero stumbles from one outrageous situation to another, simply trying to survive (and perhaps save humanity) amid the bickering deities. Ethan Hawke is also terrific as his nemesis, as is the superb May Calamawy in a complex leading role. (Disney)
An inventive premise gives this show an instant kick of intrigue, as does its bonkers 1970s aesthetic, with endless corridors and advanced-but-archaic tech. Adam Scott is solid in a rare serious role as a man whose ordered life, in which his personal and professional consciousnesses have been severed, begins to unravel. All of this is perhaps a bit gimmicky, hinging on something intriguing that never quite makes sense. But the show's internal logic is compelling, as are startling characters played by the fabulous likes of John Turturro, Christopher Walken and Patricia Arquette. (Apple)
Complex and introspective, this show is presented as a comedy but features a strong kick of emotional drama along the way. Based on a memoir, it centres on young Jack (Derry Girls' Dylan Llewellyn), who defers his university studies to keep his mother (Camille Coduri) company after his father's death, then struggles to come to terms with his homosexuality. On campus, he befriends Danny (Jon Pointing), who opens up his world in increasingly unexpected ways. It's a rare show that depicts an close friendship between a gay and straight man who need each other to make sense of the world around them. (C4)
Based on the true story of a man who abandoned his family to become a pirate, this show's pilot is directed by Taika Waititi, who then pops up as the fearsome Blackbeard in this wildly amusing comedy set on a pirate ship in 1717. Rhys Darby manages to make the effete gentleman captain Bonnet strongly endearing, and his hilarious ragtag crew includes the likes of Joel Fry, Vico Ortiz, Samson Kayo, Ewen Bremner and Mathew Maher. It's utterly ridiculous, but manages to poke witty holes into the masculinity of its posturing characters. And while everything is very silly, there's a deeper point here about the mentality that drives men to war. (HBO)
A remake of the hilarious French comedy Call My Agent, this London variation holds closely to the original for the first few episodes, then begins to spread its wings in some uniquely British ways. Led by Jack Davenport, the offbeat cast is solid, and each episode contains starry cameos that are more knowing than jaw-dropping. It's a superb skewering of the insanity of a talent agency, amped up by the arrival of a couple of Americans who add fake Hollywood smiles to every nasty thing they do. The bland direction and slack pacing may leave it feeling a little undercooked, but by the end of this season the show finds its stride and leaves us looking forward to more. (Prime)
Mike Myers plays at least half of the roles in this wildly inventive comedy adventure centred around a secret society that runs the world. The difference is that this one is nice. Only a Canadian would have come up with this premise, and Myers packs the show with terrific characters, laugh-out-loud gags and witty pop culture references, including many that lampoon his own career. Starry guests (Rob Lowe, Keegan-Michael Key, Ken Jeong) and massive effects sequences add to the freewheeling, escalating plot. And while it is very gimmicky, it's far more effective and involving than expected. (Netflix)
T H A T ’ S A W R A P
Derry Girls: series 3
Three years later, this great sitcom storms back at full force with indelible characters in riotously funny situations. There isn't a dull moment in these episodes, which are stunningly well-crafted to bring out amusing details in each character while propelling five teens into early adulthood. The 1990s setting adds political subtext that takes on increasing resonance, especially in the final episode, which beautifully sticks the landing. The five young leads are so good that we never want them off-screen. The surrounding adults add knowing textures in even the silliest situations. And Siobhan McSweeney still walks off with the whole show as the bitingly sardonic Sister Michael. (C4)
Carrying on with that snarky glint in the eye, this show continued pushing its characters into awkward corners, now as a three-sided drama featuring killers Eve, Villanelle and Carolyn (the frankly awesome Sandra Oh, Jodie Comer and Fiona Shaw). Because the situations are both terrifying and absurd, each actor can add a range of textures that hold the interest. So while the variations in tone are uneven, the show has a driving energy that carries us right to the end. After the previous three seasons, the series' final moments feel a little unsatisfying, going out with a bang rather than something more textured and transgressive. (BBC)
Iit was nerve-wracking to hit play on these final episodes, knowing that the writers have no qualms about getting very dark, and then darker still. It seemed impossible that there could ever be someone nastier than Darlene (Lisa Emery), and then Javi (Alfonso Herrera) turned up. And now his mother Camila (Veronica Falcon) takes the crown. Meanwhile as the Byrdes, Jason Bateman, Laura Linney, Sofia Hublitz and Skylar Gaertner continue deepening characters who are pushed into various corners. And Julia Garner still shines brightest as the fearsome Ruth. Of course some of the conclusions are frustrating, but it's difficult to recall another TV series this intense. (Netflix)
Jane Fonda and Lily Tomlin have been so flat-out fabulous in these seven seasons that it's difficult to say goodbye to their characters. These last episodes don't scrimp on the tangled messiness, as the show continues to grapple with geriatric issues with openness and humour. This has been a rare show that has embraced sex, inebriation, honesty and power for people of all ages. There are times when things get more than a little cartoonish, but the sheer charisma of the entire cast makes each scene shine. And each actor unflinchingly embraces the more difficult aspects of their characters, which only makes all of them that much more loveable. (Netflix)
B A C K F O R M O R E
Bridgerton: series 2
Shifting to the next Bridgerton sibling, this second season maintains the Austen-esque approach, introducing its prickly leads (the superb Jonathan Bailey and Simone Ashley) as romantic foils right at the start. The wrinkles and obstacles they face are enjoyably messy, and scenes are packed with sparky supporting characters, including fabulous divas Queen Charlotte (Golda Rosheuvel) and Lady Danbury (Adjoa Andoh). Putting modern-day vibes in an 19th century setting makes the show fizzy, thoroughly entertaining and sometimes moving too. So the eight episodes go by far too quickly. The show needs to keep expanding its diversity; we all know where it needs to go now. (Netflix)
series 2
Dwayne Johnson continues to unpick his childhood, shifting between various periods to explore his lively relationship with his parents, sport and politics. This second season follows on seamlessly from the first, as the young Rocks (Adrian Groulx, Bradley Constant and Uli Latukefu) are allowed to grow up on screen alongside the terrific Joseph Lee Anderson and Stacey Leilua as his feisty parents. There's also more Randall Park goofiness in the amusingly cynical framing scenes with Johnson, plus added Sean Astin as a nemesis this year, although his subplot gets a bit lost along the way. (NBC)
While this second season succumbs to the Star Trek universe's odd affinity for wacky sciency anomalies and multiverse messiness, it also takes a swerve into something more existential with the return of both the Borg and the mischievous Q (John de Lancie). Also, much of the action is set in 2024 Los Angeles, which adds a present-day kick. Of course, the primary joy is seeing Patrick Stewart back in action, accompanied by a superb ensemble of costars. And there are cool cameos from several others from his The Next Generation days. Ultimately, what sets this show apart is its deeper themes and internalised storylines. So it's worth a look even for non-fans. (Paramount)
Kicking off with that same bleak, dark tone that made the first season a bit hard going, this new set of shows thankfully begins to dig a bit deeper fairly early on. It's still very heavy, and often rather preachy in a wallowing-in-the-muck sort of way. But it's made watchable by its willingness to delve intensely into things most shows gingerly step around. And this allows the cast to create often shockingly vivid characters. Zendaya is particularly superb as Rue, although her self-destructive behaviour is exhausting. Others are more nuanced, even if the writers continually push the casual drugs and violence way over the top. (HBO)
Kicking off at the same frantic, out-of-control pace as the first season, these episodes immediately feel more tightly written. Even as the plot spirals out in several cleverly insane directions, the ongoing craziness surrounding Cassie (Kaley Cuoco) is entertaining and involving, including the way she consults with the various aspects of her personality. The central mystery is so bonkers that it's impossible to imagine where it's heading, especially as each clue seems to be downright impossible. Everyone in this show is hyper-distracted, and the things Cassie does are frankly idiotic. But it's fun to just hang on for the ride. (HBO)
This second season feels truncated at seven episodes, and apparently a third series is coming. It's a show that allows you relax and stop thinking, brought to life by the criminally likeable Robbie Amell as a guy whose consciousness was uploaded to a virtual resort when he died. He continues to pine for his "angel" assistant Nora (Andy Allo) while his overbearing girlfriend Ingrid (Allegra Edwards) pays his bills keeps a much too-close eye on him. The rich/poor divide is more integral in this season, complete with the addition of a group of anti-upload activists who want to bring down the entire system. But it's still mercifully predictable and funny. (Prime)
series 2
An unusually strong cast makes this comedy entertaining, anchored by Steve Carell and John Malkovich immaculately underplaying absurdly ridiculous characters. Plus adept supporting cast members like Ben Schwartz, Diana Silvers, Tawny Newsome and Jimmy O Yang. The premise might be corny, and much of the humour feels underpowered, especially running gags about the lack of funding in this new US military branch. But above-average writing gives the actors something to chew on even in the most absurd scenes. It also helps to have guest stars like Jane Lynch, Lisa Kudrow and Patton Oswalt popping in. (Netflix)
Fast and breezy, this rapid-fire comedy sends this riotously ridiculous girl group on another wildly outrageous journey, this time as they try to get their barely revived career back up and running with a new album and tour. As before, the songs are absolutely hilarious, while the four central characters played perfectly by Sara Bareilles, Busy Phillips, Renee Elise Goldsberry and Paula Pell manage to stretch their stereotypes in all sorts of intriguing directions. And the show continually finds ways to explore the music business with striking insight, even as it indulges in the silliest jokes imaginable. (Peacock)
Mindlessly trashy, this new season once again kicks off with a murder, then cycles back to build up to it as the teen characters throw a wildly sex-fuelled, drunken party seemingly every night. Stakes are upped by continuing last year's mystery while indulging in new red herring shenanigans. As always, it's a lot of escapist fun to watch these fabulously wealthy, ludicrously hot people squirm in a veritable hurricane of soapy calamities. As the show continues, its point of view is increasingly fragmented, so there's no longer a central figure to root for. But then, nobody in this show is very likeable, so it's easy to just sit back and watch the mayhem. (Netflix)
NOW WATCHING: Obi-Wan Kenobi, Becoming Elizabeth, Star Trek: Strange New Worlds, Ms Marvel, Pistol, Physical (2), The Boys (3), Stranger Things (4).
COMING SOON: House of the Dragon, Only Murders in the Building (2), Love Victor (3).
Thursday, 4 November 2021
Raindance: Making movies
The Rossellinis
dir Alessandro Rossellini; with Alessandro Rossellini, Isabella Rossellini 20/It ***.
There's an offhanded honesty to this documentary, in which Alessandro Rossellini explores his sprawling family and the meaning of his famous grandfather's legacy. Key film clips and extensive archival footage are included that tellingly explore layers of family history. But the filmmaker's goal is to reveal stories that have never been told and find the defining factor that keeps him so closely connected to his aunts, uncles and cousins... FULL REVIEW >
dir Renata Pinheiro; with Luciano Pedro Jr, Matheus Nachtergaele 21/Br ***.
Blackly comical and wildly outrageous, this satirical Brazilian thriller plays on the idea that cars have consciousness and would change the world if they could communicate with humanity. While set in the present, filmmaker Pinheiro cleverly evokes a 1980s vibe, including a terrific Christine-meets-Knightrider kick as the story spins into an epic battle against government oppression. And there are several even more bonkers elements to the story as well... FULL REVIEW >
dir Oskar Pall Sveinsson; with Veiga Gretarsdottir, Gretar S Petursson 20/Ice ****
Beautifully shot in spectacular locations, this introspective documentary traces a daring physical challenge. And as a trans woman, Velga Gretarsdottir's life has been full of challenges. The movie doesn't shy away from bleak elements of her life, but it maintains a sense of positivity, facing each obstacle with dignity and tenacity. Filmmaker Oskar Pall Sveinsson keeps the tone earthy and warm, celebrating a woman who has never followed the crowd... FULL REVIEW >
dir-scr Anicee Gohar; with Mohanad "Kojak" Aglan, Nabila Yassin 21/Egy ****
This documentary about rising star Egyptian fashion designer Kojak takes on the thorny issue of being a queer artist in the Middle East with openness and honesty. Filmmaker Anicee Gohar vividly captures Kojak's energy and style, including lots of glitter and glamour. Even at just an hour long, this film provides a remarkably complex portrait of a bright young designer who is quietly determined to change his harshly proscriptive culture.
Full reviews of festival films will be linked at Shadows' RAINDANCE HOMEPAGE
For full festival information, visit RAINDANCE FILM FEST
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C R I T I C A L W E E K
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