‘Monsoon’ : Hazy Memories of Home
After his family fled to England after the Vietnam War, Kit returns home to Saigon.

The feature film by visual artist Tomáš Svoboda is not about film. It is not an essayistic reflection on the moving image. It is not a comical story from a summer afternoon. It cannot be perceived as a record of a work process. It is not even a retold film. And it is certainly not about the technology of filmmaking. It is about life.
After his family fled to England after the Vietnam War, Kit returns home to Saigon.
This delightfully odd horror movie presents a whimsically strange alternate reality to younger audiences.
Ultra-violent storytelling has never been my thing, but the issues with Scarface go beyond that. The film perpetuates harmful stereotypes about Latinx immigrants and uses gore and misogyny for shock value that never serves any purpose. The whole venture is frustratingly empty, and left me desiring something more.
Disclosure Day asks us to question humanity's role in the universe but falls victim to the same assumptions of centrality.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
A young woman finds herself trapped in a crossfire of awkwardness during a nightmarish dinner party with her boyfriend's dysfunctional family.