By Kyle Flynn

Everything Else Is Noise:

I can appreciate Pereda keeping it so small-scale and contained in tone. Deeply funny, it’s rare that something that exists in such an introspective lens can manage to pull off a unique and comic tone. Each of the interruptions manages to exist individually of itself and find an obtuse level of heart within the three main women. I would have loved it if there were one last emotional beat, just to close the journey Pereda puts us on in this apartment, but nevertheless, a film that impacted me where it hurts. 

7/10

Double Freedom:

The sequel to Lisandro Alfonso’s slow meditation on life, La Libertad, finds us decades later, in a similar but wholly different existence. Within the narrative, we see life through his body and experience the changes that have happened behind Misael’s eyes. When a lot of mainstream contemporary filmmaking exists in this reality of trying to never bore the audience, yet always finds a way to keep me at length. It’s a good reminder that artists like Alfonso are still making an effort to create art, that engulfs your spirit. 

This in-depth exploration of his life works once again because, just like in the film, we are each getting older and continuing to live our lives in hope of some form of fulfillment. The direction from Alfonso is breathtaking, proving his craft has reached a level most filmmakers could only hope to obtain, if they can learn to breathe. 

8/10

We Are All Strangers:

The collected thoughts and memories that Anthony Chen creates in We Are All Strangers often make the drama surrounding this family saga, set in the midst of life in Singapore, feel less exploratory than one might hope. Despite the ensemble really feeling fresh and well-rounded, the narrative clichés combined with the slow pacing make the film feel derivative of so many previous films that tackle the exact same themes I have seen a dozen times before. The consistent expression of sentimentality came across as glib in my eyes, and although the immense scope is ambitious, I came away wishing it would commit to either the family’s inner recesses or simply to a broader scope. 

4/10

Everytime:

Sandra Wollner’s Un Certain Regard Winner, ‘Everytime,’ came at a moment when our society is increasingly feeling more disconnected from our emotions. The overarching narrative revolves around our experiences with grief through the eyes of the three main characters. The trip Wollner takes us on throughout the picture creates the illusion of a reality in which our collective burden can truly be in tune with ourselves. As the film progressed and we entered more surreal elements, the storytelling managed to reframe how you perceive the first two acts. Coupled with the excellent cinematography from Director of Photography Gregory Oke, who found a glimmer of light in my eye with the breathtaking shots that lay the foundation of this film, there is no doubt that the film succeeds in its attempt to touch your spirit. 

8/10