Why is it that films like Dolores Fonzi’s wondrous directorial venture always remind us about the forgotten history, and how condemned we remain as a human race to repeat our mistakes in the future if we don’t come to terms with our past?
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Úrsula Corberó Delgado and Nahuel Pérez Biscayart in a still from ‘Kill the Jockey’, used with permission
Why we awarded 'Kill the Jockey' Best Film at the London Spanish Film Festival
While Luis Ortega’s stunning 2024 film may be primarily an Argentinian title, as a Spanish co-production jury members Vincent Jaskowski-Prowse, Leigh Singer and I were able to celebrate the title in style at this year’s festival. And, in the process, we discovered a film that has filled our dreams ever since.
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To be young, gifted and... gay! A review of Iair Said's 'Most People Die on Sundays'
A personal tale based on the filmmaker’s own experience centering around the death of his father, this succinct film mixes a successful blend of realism, absurdity, comedy and drama to create a wondrous work of the Seventh Art.
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