Thirst_Street_Poster_Hi-Res_Theatrical_860 6.5


Grief and loss can push people to extremes, and Nathan Silver’s Thirst Street, co-written with C. Mason Wells, showcases a psychological character study of a flight attendant named Gina (played by Lindsay Burdge) who decides to make a new life for herself in Paris. A one-night stand with bartender Jérôme (Damien Bonnard) precipitates this decision, and her adoration for him leads to some undesirable outcomes.

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FUGUE Review

Now available to stream via

In Fugue, the latest feature-length from director Jorge Torres-Torres, we are met with the present existence of a young woman, Claire (Sophie Traub), on a foreign island,

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LEMON Review

Janicza Bravo’s debut feature, Lemon, is a triptych of a mediocre man named Isaac (played by Brett Gelman), a stunted man with a deteriorating set of social skills who currently finds himself in a challenging stretch of his life brought on by his inability to think of anyone but himself.



Theodore Collatos’s latest short is one that is positioned as an origin, of sorts, for his upcoming feature-length film, Tormenting the Hen (which I covered here); an influential starting point that informs a certain segment of his feature, specifically, as variations of

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Another restoration is slated for the screen, this time premiering at Quad Cinema this July 14th, by way of Rialto Pictures, is Andrzej Zulawski’s L’important C’est D’aimer from 1975 in what is being billed as the “U.S. Theatrical Premiere Engagement of the film.” Up until this point in time, the best way in which to view this particular Zulawski would be an imported copy from Mondo Vision paired with an all-region player.

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Maybe it’s nothing more than a nod to Noboru Tanaka’s 1972 film, The Night of the Felines. Perhaps, something was lost in translation or there is a cultural disconnect but as it stands to me now, in the present, Dawn of the Felines contains an absolute dearth of redeeming qualities.

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On the surface, writer/director Christopher Jason Bell’s short film, left, appears to be a rudimentary walkthrough of a very basic premise - a young woman roaming an airport; and to a certain extent, this is true. It is, in its entirety, nothing more than a young woman wandering through the confines of an airport while attempting to arrange a place for herself to stay. However, it is within this elementary narrative framework that Bell experiments with the role of the camera as well as a minimum allowance in terms of narrative.

apnak 8.5

UNSUNG INDIES: Ahmed Khawaja and Andre Puca’s AP & AK

This edition of Unsung Indies marks the first time a director has been featured for a second time for their work. In this particular case it is directors, plural; as in, Ahmed Khawaja and Andre Puca, whose first film together, KWAK or Kassandra with a K, was not only a film I featured here but also one that I consider to be one of the best films of the current decade. Their second feature-length collaboration, AP & AK, is a natural extension of KWAK, another chapter entry in the diary film saga of their friendship.

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There are not a lot of films like Funeral Parade of Roses, the feature-length debut from writer/director Toshio Matsumoto; in all actuality, I don’t think there exists another film remotely comparable.

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The mystifying nature of The Missing Sun works well in maintaining a certain level of captivation since no developments nor actions are alluded to in any noticeable way. There is an unpredictability to it all that is able to keep interest levels piqued. Although, there is a sense that that same fog of stimulation slowly condenses over time, occupying and obstructing the path to insight through obfuscation. Which opens the door to questioning the ambiguity present; its structure, an appearance that once indicated careful construction starts to look more hurried in its creation and semi-neglected in its development as the film moves forward. That the ambiguity that sustained interest in the beginning was not cultivated nor curated with consideration but more so a happenstance formation born out of narrative absences.