Phuong Le

Far from reiterating tired binaries – tradition versus modernity, elders versus youngsters – the film embraces the beauty of contradictions with open arms. Even when the possibility of reconciliation appears out of reach, it is the effort to communicate – whether through words or art – that brings peace.

Instead of letting the visuals do the talking, the voiceover steps in to verbalise the characters’ feelings, and the need to provide multiple backstories through flashback veers into over-exposition. Still, Departures remains a highly thoughtful exploration of love and identity, and an excellent showcase for northern talents on film.

Echoing the cycle of crop cultivation, Shyne’s film inhabits the seasons of life, bookended by images of a funeral and the open sky. This vanishing way of life is imbued with a dose of melancholy, yet hope still remains for a better harvest in the future.

While we might want to hear more about the specific cultural geography of the Azeri Turk community to which Shahverdi belongs, this remains a thought-provoking portrait of an extraordinary spirit.

What 100 Meters lacks in narrative subtlety and pacing, it makes up for in dazzling visuals.

Here is a visual portal to a hidden side of a controversial artist – one that is not for sale.

The resulting documentary is anything but conventional.

Shot in tight closeup, Domagalska’s documentary brilliantly conveys the unseen psychological toll of this social work. At the same time, the film overflows with the joy of activism.

The film is elevated by the tender rapport between MacKenzie and Smith; when a film-maker is clearly captivated by their subject, the film can compel viewers to fall in love as well.

While showing Totsuko’s religious beliefs respectfully, The Colors Within takes care to highlight how community can be meaningfully formed outside religion, in the embrace of creative arts.