Opinion

By Richard Caeiro Scene from the film "Vague Void". There are fragments of time that our Western logic, guided by a limited rationality, cannot capture. "Vague Void", by British director Rob Winward, operates precisely within these cracks. Through a VHS aesthetic that erodes the world's clarity, Rob Winward doesn't just film cats in a backyard; he films the essence of mystery. The film invites us into a sensory state where curiosity and instinct cease to be "irrationality" an

By Richard Caeiro Scene from the filme "Scáth". Some works aren't meant to be watched; instead, we simply inhabit their intervals. "Scáth" (Shadow), by Irish director Chris McKenna, is one of those rare moments where cinema shifts from representation to a phenomenology of the spirit. McKenna, whose hands helped sculpt the textures of monumental productions like Dune: Part Two, here subverts his technique in favor of a devastating intimacy. The film is a visual testament born

By Richard Caeiro When we stand before an experimental film, the first step is to abandon the crutch of rational interpretation. We never know exactly what the director intended to "say," and in Karen Belfo’s "Warehouse Mannequin", this uncertainty is our greatest virtue. Scene from the film "Warehouse Mannequin". The film does not hand us a pre-chewed message; it operates within the grammar of pure sensation. Upon entering this abandoned warehouse, Belfo’s camera does not s

By Richard Caeiro A scene from the filme "The Letter Room". There are films that operate on the frequency of absolute silence, where boredom is not an interval but the very raw material of existence. "The Letter Room" , directed by Elvira Lind, is a surgical incursion into human invisibility. By stripping Oscar Isaac of any trace of heroism, the film introduces us to Richard—a man of heavy movements and soft speech, whose life is framed by a palette of earthy and grayish tone

By Lucas Marques A scene from the film Pillion There are films that confront us with the uncomfortable truth that love is often a negotiation of forbidden territories. Director Harry Lighton’s Pillion  operates within this twilight zone. By narrating the relationship between Colin (Harry Melling), a submissive man, and Ray (Alexander Skarsgård), his dominant figure, the work transcends sexual orientation to reach an ontological discussion: the quest for the annihilation of th

By Richard Caeiro A scene from the film Unspoken There are films that do not just tell a story, but inhabit the open wound of a generation. "Unspoken" (À demi Maux), by director Sai Ko Mimeur, is a visceral dive into the static electricity hovering between two beings who love each other, yet were disfigured by the urgency of a world that does not forgive doubt. Through the relationship between Chris and Eva, the film transcends family drama to become a cartography of silence

By Richard Caeiro Scene from 'Bob' featuring Stana Minincic and Julia Doménech. Alberto Martín-Aragón’s work, "Bob," operates on a frequency of psychological and metaphysical horror that mainstream cinema rarely dares to touch. Through rigorous black-and-white cinematography and an aesthetic reminiscent of surrealist nightmares, the film drags us into the deformed grief of Harper. What manifests on the screen is not just a story of loss, but an open wound exploring the danger

By Richard Caeiro There are moments in cinema when the image ceases to be a window into the world and becomes a mirror for thought. In WHAT IS WRONG WITH THIS COUNTRY? , Lenz Olaf does not hand us a map, but rather a compass that spins aimlessly, purposefully disoriented. As a spiritual heir to the Nouvelle Vague  and the essayistic collages of Jean-Luc Godard, Olaf uses cinema not to explain his nation, but to capture its intangible soul through an aesthetic of fragmentatio