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Continue reading →: Noroit Revisited + DuelleOut of the filmmakers of his generation, there’s no one who has as much faith in the power of mise-en-scène as Jacques Rivette. In the first paragraph of his assessment on Howard Hawks, “The Genius of Howard Hawks”, Rivette claims, “The evidence on the screen is the proof of Howard…
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Continue reading →: Family PortraitThis week marks the inauguration of Le Cinéma Club’s new 6-week film series, New American Voices. The series is full of fascinating works from new filmmakers that I’ve always been curious about. As the mass-attended blockbuster in multiplexes gets stale, alternative paths of filmmaking and platforms of distribution – the…
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Continue reading →: Hot Doc ’26: Les InhabitantsI was pleasantly surprised to see Les Inhabitants in Hot Docs’ programme this year, given that it had already premiered at Cinéma du Reel over a year ago. Maureen Fazendeiro’s other 2025 output, The Seasons, screened at TIFF last year, which is when she got on my radar. Unlike her…
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Continue reading →: Hot Doc ’26: Time and WaterEven before the opening title, Sara Dosa’s new documentary Time and Water announces itself as a capsule and a letter addressed to posterity, for the humans who will arrive maybe 200 years from now. The film is narrated by Andri Snær Magnason, an Icelandic poet and writer, and mostly consists…
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Continue reading →: Favourite First Time Watches of AprilSome notes on films I loved this month. In Vanda’s Room No wonder Pedro Costa has been so inspired by works of the classical masters – the Lubitsch, Ford, Renoir, Bresson, etc. – those who, beneath the big studio money, delineate cinema’s story of light through their gentle touches under…
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Continue reading →: The Last One for the RoadFrancesco Sossai’s The Last One for the Road, which premiered last year at Cannes’ Un Certain Regard, can easily be described as a tale of friendship. It also belongs to the lineage of road movies that extends as old as cinema as mass entertainment. From the group of bus passengers…
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Continue reading →: Vengeance is MineVengeance is Mine, directed by Michael Roemer and released in 1984, not to be mistaken for the 1979 film directed by Japanese master Shōhei Imamura, is a film that’s constantly moving and shapeshifting (literally with planes, ferries, canoes). From the first scene, there is this percolating tension that the film…
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Continue reading →: My Weekend with TerenceThis month, TIFF Cinematheque is hosting a series of screenings of the works of British auteur Terence Davies, who passed away in 2023. As someone who has long heard of him but has not seen any of his films other than The Long Day Closes, I jumped when I first…
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Continue reading →: The Drama“Can we start again?”, a line frequently asked in The Drama by the two leads played by Robert Pattinson and Zendaya. Cinema often feels like an endless loop. The same drama repeated over and over again, with slight changes to the plot; the repetition of 24 frames per second; the…
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Continue reading →: The Temple Woods GangStreaming for Free on Le Cinéma Club this week In the opening of Rabah Ameur-Zaïmeche’s 2022 heist noir, The Temple Woods Gang, a shot pans through the beige-coloured condominiums of the Temple Woods housing project, each fenestrated with a contingent of small, rectangular windows. The shot ultimately lands on a…
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If we consider the overview of the world of cinema as a map, then the voyage to connect the scattered dots in between is what we’re invested in. Serge Daney once described voyage as ‘without luggage, totally self-sufficient in his dispossession’. Being a citizen of world cinema is to abandon the luggage of predefined cultural expectations and meet each film and each filmmaker on their own cinematographic terms. If you are down for this journey, please consider subscribing to this travelogue.
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