Toni Morrison: The Pieces I Am is a rather basic talking heads documentary in terms of its overall construction, but as a primer on what makes her such a great writer and social activist, it’s a well crafted work with plenty of substance.
Quebecois filmmaker Sébastien Pilote reaffirms his status as one of Canada’s best working filmmakers with the quietly observational and emotionally grounded coming of age story The Fireflies Are Gone.
The Last Black Man in San Francisco is one of the most uniquely heartfelt works of cinematic and theatrical art in quite some time; a love letter to people who stand by their hometowns through thick and thin and offer up their unwavering, sometimes foolhardy devotions to a place that seemingly doesn’t love them back.
Brazenly uncompromised and assuredly experimental, Quebecois filmmaker Maxime Giroux’s surrealist allegory The Great Darkened Days is the rare breed of psychedelic freak out that’s both politically motivated and assuredly made.
Ambitious and indulgent, but filled with plenty of emotionally devastating musings about young love and the casual cruelty of human beings, Quebecois filmmaker Philippe Lesage’s Genesis is both a mess and a masterstroke.
Canada might produce more coming of age films per capita than any other country in the world, but few of them are as subtle, perceptive, and culturally impactful as writer-director Geneviève Dulude-De Celles’ poignant and strikingly realized fictional feature A Colony.
A sprawling, ambitious, indulgent, and assuredly unnerving follow-up to his terrifying critical and commercial success Hereditary, Ari Aster’s sun and blood drenched Midsommar is yet another example of a filmmaker throwing everything they can into their second feature because their first major success has allowed them a lot of leeway to go a bit crazy and over-the-top.
Actor, film buff, and budding director Jack Reynor talks about his work on Hereditary director Ari Aster’s latest challenging thriller, Midsommar, in theatres everywhere on Wednesday, July 3.
Painfully stilted, cliched, and sometimes unintentionally funny, the Canadian ghost story Isabelle is yet another uninspired indie horror that only works if the viewer hasn’t seen another movie in their life.
A bland, skin deep literary study of one of publishing’s greatest unsolved mysteries, the Italian documentary Ferrante Fever will only appeal to the titular author’s legions of already converted fans or anyone who wants to make it seem like they’ve read the works in question without actually picking any of them up.