It is hard to tell if the archival documentary African Mirror is a rehabilitation of a colonial mind, a critique of colonialism or a piece of essayistic nostalgia over the colonial gaze. Probably it is a mix, and as such, nothing new.
Two newcomers stood out from the crowd at this year’s Underdox in Munich. Sec Rouge – one of 2018's most striking, accomplished and beautiful films of any length – and the seminal and glowingly delicate 48-minute film, Accession.
The Artist & The Pervert is a somewhat atypical portrait of an artist that tells less about composer Georg Friedrich Haas’ microtonal music then it does about his BDSM-based relationship with his wife.
Thousands of Ghanaian girls as young as six are systematically sent away from their impoverished rural homes to the capital to scrape together a few pennies – burdened with loads that could break the back of a strong adult.
Leilah Weinraub's Shakedown is a fascinating glimpse into the world of African-American lesbian clubs and strip shows.
The Chinese contemporary artist and filmmaker Weiwei delivers a captivating life and death fresco of homeless hordes of people in Technicolor.
To political scientist Jean François Bayart, globalising and development are complementary processes.
Can a refugee in a film become too aesthetic, losing his ethical relevance?
We know what was happening in Portugal for decades under the dictatorial Salazar regime.