Michael A. Goorjian’s Amerikatsi is both poignant and farcical, with a sprinkle of quite literally ‘observational’ comedy in Soviet-era Armenia.
Ellie Foumbi’s Our Father, The Devil is a powerfully poignant film about resolving trauma, with a phenomenal central performance from Babetida Sadjo.
Mickey Reece’s Country Gold is a tonally odd rumination of fame and legacy, and its decent performances and slick style don’t particularly inspire.
Ása Helga Hjörleifsdóttir’s A Letter To Helga is a lyrical, beautiful film about love and regret, but also the power of legacy and belonging in 1940s Iceland.
Álfrún Örnólfsdóttir’s Band is an eclectic documentary with the stylings of a fiction film, chronicling a make-or-break year for an Icelandic female punk collective.
Tereza Nvotová’s Nightsiren intriguingly explores misogyny and trauma through surrealist horror, but feels a little disjointed at times.
Jon Wright’s Unwelcome has some delightfully freaky faeries and a few laughs, but its plot issues spoil the fun somewhat.
Robert Higgins and Patrick McGivney’s Lakelands is a subtle and poignant film about learning to embrace a future that isn’t at all what you imagined.
David Fincher’s The Girl With The Dragon Tattoo is not only a well-acted, visually stunning…
Klaus Härö’s My Sailor, My Love is more than just a romance, poignantly exploring the bittersweet complexities of a strained father/daughter relationship.