IFFR 2017 – review – HARUNEKO (Hokimoto Sora, 2017, Japan)

Haruneko, the directorial debut of Hokimoto Sora, is a work of cinema as a phenomenological manifestation. Much like some of the works of Andrei¬†Tarkovsky, the screen and the images that are projected on it feel less like objects of pure deliberation and more like starting points for subjective, experiential readings. Haruneko presents us with a…

IFFR 2017 – review – STILL NIGHT, STILL LIGHT (“Mes nuits feront √©cho,” Sophie Goyette, 2017, Canada)

Discussions of cinema and dreams often revert to psychoanalysis and linguistics. Sophie Goyette’s charming feature debut Still Night, Still Light does not altogether avoid discussions on such terms. Nonetheless, dreams here represent pivotal elements for the advancement of narrative as well as excuses to shift narrative focus from character to character as it progresses. They…

IFFR 2017 review – SEXY DURGA (Sanal Kumar Sasidharan, 2017, India)

Even within the tradition of films that are ideologically sound because of their outright denial of the pleasures that are linked with conventional cinema, Sanal Kumar Sasidharan’s Sexy Durga comes across as particularly brutal – both on a formal and intellectual level. Formally, it denies the advancement of a narrative through endless repetition, empty Formally,…