Best International Feature: The Man Who Sold His Skin

by Cláudio Alves

For the past few months, I've been trying to watch as many Best International Feature submissions as I possibly can. For The Film Experience, I reviewed 33 of those titles, including nine of the 15 shortlisted films, with most of the remaining finalists being taken care of by other writers. Still, one feature remained unreviewed on Oscar nomination morning, and, as luck would have it, that very same production nabbed a somewhat surprising nod. I wish I could say I was happy about The Man Who Sold His Skin's triumph, but Tunisia's seventh ever submission and first nominee proved to be a disappointment…

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Review: South African Queer War Drama ‘Moffie’

By Abe Friedtanzer

 There is a traditional image of military might that emphasizes strength above all else, to the detriment of individualism and often humanity. We’ve seen this portrayed many times in disturbing fashion in movies and television (not to mention real life), as drill sergeants and other commanding officers work to crush the spirits of their charges and “toughen” them up so that their weaknesses will be rooted out. This can obviously have truly scarring effects, felt both during and after service. A powerful showcase of that phenomenon is on display in director Oliver Hermanus’ new film Moffie, opening Friday.

In the same way that Confederate battalions aren’t fondly remembered in America, white men who fought for South Africa in the 1980s aren’t really on the right side of history...

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Review: Shiva Baby

by Ben Miller

Part cringe-comedy nightmare dripping with passive aggressiveness and part look at the complexity of modern sexuality and relationships, director Emma Seligman's Shiva Baby shows a unique perspective on attending a party from hell. Rachel Sennott stars as Danielle, a college senior who starts her day having sex with her sugar daddy Max (Danny Deferarri) before heading off to a shiva with her parents Joel and Debbie (Fred Melamed and Polly Draper).  Danielle is a college senior with no real prospects after graduation and she knows this will be a frequent topic of conversation among the party-goers.  She trudges on, but sees Maya (Molly Gordon), her high school girlfriend as the belle of the ball being lauded over among the many guests.

Debbie wants Danielle to focus on her future and uses the party as an excuse to try to get her a job.  One of those outlets is Max, who used to work with Joel.  Max and Danielle play dumb and attempt to assuage any suspicions, but things get infinitely more complicated when Max's wife Kim (Dianna  Agron) shows up...

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93rd Academy Awards: On the Best Animated Short nominees

by Nathaniel R

We'll be reviewing each of Oscar's categories before the ceremony. We've already explored the nominees in Best Animated Feature, Doc Shorts, Live Action Shorts, and Visual Effects.

For Best Animated Short it's a pity we can't honor Kapaemahu a beautifully evocative Hawaiian story of transgender spirits, with a spot near the top of this preference ranking but awards season can be cruel like that. Nevertheless you should stream it on Vimeo to see the one that got away. Otherwise, though, the voters chose fairly well. Here are thoughts on each nominee and where you can stream them...

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SXSW: Portraits of motherhood in "Ninjababy" and "Bantú Mama"

by Cláudio Alves

Motherhood is one of cinema's favorite subjects, ever since narrative pictures emerged as a force to be contended with. One can go so far as saying that ever since the origins of drama, of storytelling, tales of mothers have dominated audiences' attentions, defined cultures, were made into the foundations for moral and religious belief. Perhaps because of such history, such conceptual weight, mainstream cinema rarely attempts to subvert or question the precepts of dramatized maternity. Even in more independent circuits, there's still reverence there, a willingness to prop up the mother figure into a saintly paragon, idealized caretaker, matriarch of humanity.

Because of it, one feels grateful when artists turn their back on all that baggage and decide to subvert what cinematic mothers are, what they look like, what they represent. The irreverent Ninjababy and the beautiful Bantú Mama, both presented at the SXSW film festival, are prime examples of this…

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