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  • Sententia

    Sententia

    ★★★★★

    Kafkaesque absurdity, Lynchian uncanniness, and above all, formal rigor that would make Bresson quiver with fear densely intertwine and symbiotically merge into Dmitry Rudakov’s masterful, painfully poignant, brutally honest and heartachingly beautiful directorial debut which chronicles the last days of Russian poet, journalist, writer and GULAG survivor Varlam Tikhonovich Shalamov (1907-1982), as well as two of his most devoted admirers’ endeavors in the preservation of the author’s bequest. In less than ten deliberately paced scenes, each helmed with admirable precision,…

  • Swoon

    Swoon

    A delightfully quirky and lightly surreal romantic drama in the vein of ‘Amélie’ is the last film you would expect to come from ‘Bergmanland’ and yet, here it is! Set in 1940 and based on the history of the Gröna Lund amusement park located on Djurgården Island in Stockholm, ‘Swoon’ chronicles a charming story of forbidden love stronger than nazism and war. Introducing the language of flowers, embodying a swarm of belly butterflies and depicting a dream-duel with rose-firing guns,…

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  • The Forgotten Colours of Dreams

    The Forgotten Colours of Dreams

    ★★★★½

    First-timer Nina Viola brings poise, grace and, paradoxically, life to the role of Death's (charming) personification in Johnny Clyde's outstanding multilingual feature debut The Forgotten Colors of Dreams - a lyrical, transcendental, contemplative, deeply melancholic, brilliantly gloomy, phantasmagorical drama which is admirably carried by non-professional cast, subtly imbued with thought-provoking dialogue (on love, beauty, life, death, memories, religion...), densely packed with experimental, ethereally beautiful VHS visuals in 'tondoscope' aspect ratio, and neatly wrapped in haunting soundscapes often evoking spectral dimensions.

  • The Way Home

    The Way Home

    ★★★★★

    Set in the 19th century southern Georgia still dominated by the Ottoman Empire, The Way Home (originally, Gza shinisaken) reimagines the historical figure of Anthim the Iberian (Antimoz Iverieli, 1650-1716) - a revered scholar, theologian, calligrapher and philosopher - as a quiet young man who tries to return home after escaping his captors. Presumably inspired by the likes of Dreyer, Bresson, Tarkovsky, and Parajanov, this peculiar, surrealistic drama turned 'road movie of the soul' daringly embraces anachronisms, as well as…