Ioncinema

This Makes Two of Us: Mitić Explores Binding Connection of Trauma & Silence Adolescence is once again cinematically explored as a breaking point between innocence and forced adulthood, and North Macedonia filmmaker Kosara Mitić‘s debut feature tackles this with blunt-force...

The Unbearable Likeness of Being: Trobisch Mines Banality in Family Drama Each unhappy family is unhappy in its own way…and sometimes those unhappy ways are boring. Such is the case with Home Stories (Etwas ganz Besonderes), the third directorial effort from...

Capitalism & The Cosmos: Jinwei Ambitiously Explores China’s Future with a Stark Warning For Its Present Long have Chinese filmmakers used the medium of film to address China’s growing industrialisation and embrace of capitalism. Modern master Jia Zhangke comes to...

All the Small Things: Eimbcke Explores the Pleasures of Disruption The titular insects of Fernando Eimbcke’s latest feature, Flies (Moscas), metaphorically represent an unwanted, aggravating presence. But sometimes, these are elements which force us to snap out of stagnation and...

The Torn Birds: Thornton Returns to Brutality of the Australian Frontier The sovereignty of Australia was never officially ceded by its First Nations peoples, succinctly stated in the 1980s slogan “Always Was, Always Will Be Aboriginal Land,” coined in the...

Where Did Our Love Go?: Schanalec Deconstructs the Break-Up Drama True to form, or rather, anti-form, Angela Schanelec’s latest exercise, My Wife Cries (Meine Frau weint), aims to defy the naturalistic approach to her theme and subject. This time around,...

(Get) Away From Her: Hammer Returns with Elder Ethical Dilemma It’s been nearly twenty years since Lance Hammer’s 2008 debut Ballast announced a major new talent in American indie cinema and his sophomore effort has been highly anticipated ever since....

Far From Home: Stänicke’s Direction Leaves the Audience Marooned How does one define their own home? Is it the place we were born? The place we grew up? Or a more abstract attribute like sexuality, self-acceptance or maybe even a...

There Will (Not) Be Blood: Ottinger Returns with Anemic Vampire Comedy New German Wave legend Ulrike Ottinger returns with her long gestating project The Blood Countess (Die Blutgräfin), a comedic take on the infamous Erzsébet Báthory legend which, at one point,...

Father Knows Best: Intimacy Cuts Deepest in d’Ansembourg’s Debut “When porn has become the norm, intimacy is the new taboo,” reads an early tagline for Truly Naked, the directorial debut of Muriel d’Ansembourg, who has built a reputation with previous...