Flee documents the unfilmable. Jonas Poher Rasmussen's stunning Sundance Grand Jury Prize winner rewards repeat viewings with its animated portrait of life always on the run.
The Lost Leonardo is one of those docs that is absolutely worth seeing because the story is so compelling. Not only is Andreas Koefoed’s film well researched, but it also has a pace and rhythm that makes one relish its complex narrative.
In The Last Man Standing: Suge Knight and the Murders of Biggie & Tupac, Nick Broomfield returns to a case that continues to haunt him and makes new allegations against Knight and the LAPD.
How many love stories can say they’ve spanned decades, crossed borders, and traversed genres? A tender tale of migration and belonging fuels Heidi Ewing's hybrid drama I Carry You with Me.
While Sparkling: The Story of Champagne is hardly a tough topic for a documentary, it does allow viewers to enjoy the wonderful drink.
Featuring dynamic camera work and vibrant colours, Art Kabuki immerses audiences cinematically in the experience of traditional Japanese theatre.
Jamila Wignot's portrait of Black dance maverick Alvin Ailey is a truly moving account of his life, work, and legacy. Ailey is imbued with the presence of a queer icon whose power endures.
Mamoru Hosoda pays tribute to the career of late animator Satoshi Kon, the master filmmaker behind works such as Paprika and Millennium Actress.
On a typical afternoon, Neha Beauty Care & Training Centre is appropriately raucous with marriage talk. “I said: What else is love if not this madness?” Sachi, an emotional and playful beautician with nervous bravado, declares in half-jest. “Craziness is what love is!” She works at the beauty parlour in the dully chaotic, sedating interiors of New Delhi’s working-class Ambedkar Nagar district, the simultaneously shadowy and luminous setting of Priya Sen’s Yeh Freedom Life. Sachi’s family does not approve of her relationship with Sai, who is also a woman. Parveen, the film’s other protagonist, traverses a similarly torrid terrain of
“Shortly after coming out, a gay person said bluntly and directly that I had blood on my hands,” says Randy Thomas in the documentary Pray Away. “He said, ‘What do you think about the blood on your hands?’ I said, ‘Right now, all I know is that I’m afraid to look down at my hands.’” Thomas, the final vice-president of the now-defunct Exodus International, makes this powerful confession towards the end of director Kristine Stolakis’s film. Thomas is one of several former members of Exodus International, which beckoned LGBTQ people to leave the “homosexual lifestyle” and walk a straight path