FILM DIAGNOSTIC

The Cats of Gokogu Shrine ★★★★

Kazuhiro Soda’s Cats of Gokogu Shrine is a quietly compelling observational documentary that draws viewers into the tranquil rhythms of a coastal Shinto shrine in Japan, where a colony of stray cats lives alongside a diverse group of local residents. Staying true to his signature minimalist style, Soda forgoes narration and avoids contrived storytelling, instead allowing the camera to naturally capture the subtle, unscripted moments between humans and animals. The cats—neither idealized nor anthropomorphized—interact with caretakers, worshippers, and townspeople who variously feed, debate over, and care for them.

The film’s deliberate pacing invites viewers to appreciate the small gestures and quiet negotiations that shape this shared environment: elderly volunteers tending to both shrine and feline, visitors offering snacks to the cats, and townspeople reflecting on the complexities of coexisting with urban wildlife.

Through these gentle, unsensationalized scenes, Cats of Gokogu Shrine unfolds as a thoughtful meditation on care, cohabitation, and the blurred lines between nature and domestication. Against the slow passage of seasons, Soda captures a delicate portrait of a community and the often-overlooked relationships that sustain it—offering a richly textured, quietly profound viewing experience for those willing to linger.

The Seed of the Sacred Fig ★★★★★

The Seed of the Sacred Fig, directed by Mohammad Rasoulof, is a powerful and politically charged drama that explores the intersection of personal and societal turmoil. Set in Tehran during the aftermath of Mahsa Amini’s tragic death, the film follows Iman (Missagh Zareh), an investigating judge whose paranoia and authoritarian tendencies unravel his family as political unrest intensifies.

The narrative begins with Iman’s new position, which grants prestige but also introduces a firearm into his household—a symbol of power and mistrust. When the gun goes missing, Iman imposes harsh measures on his wife Najmeh (Soheila Golestani) and daughters Rezvan (Mahsa Rostami) and Sana (Setareh Maleki), reflecting the oppressive atmosphere of Iran’s regime. The family’s dynamics mirror generational clashes, with the daughters embodying resistance against patriarchal control.

Rasoulof skillfully blends real protest footage with fictional scenes, creating a visceral experience. The cinematography captures both the claustrophobia of domestic tension and the chaos outside. While its 168-minute runtime feels stretched at times, the film’s critique of tyranny and its impact on personal relationships remains compelling.

Ultimately, The Seed of the Sacred Fig is a bold cinematic achievement that resonates deeply, highlighting resilience amidst oppression. Rasoulof’s courage in making this under repressive conditions amplifies its significance.

“Opening in New Zealand cinemas on March 27, this powerful film from acclaimed Iranian director Mohammad Rasoulof has already made waves internationally, winning the Special Jury Prize at Cannes and earning nominations at the Academy Awards, Golden Globes and BAFTAs. ”

-triggermarketing

Spit ★★★

In Spit, David Wenham triumphantly reprises his role as Johnny ‘Spit’ Spitieri, the lovable rogue who won over audiences in the 2003 Australian crime comedy Gettin’ Square. Released in 2025, this eagerly anticipated sequel blends humor and heart as it follows Spit’s return to Australia after two decades on the run. Wenham delivers a masterful performance, breathing new life into the character while preserving the endearing quirks that made Spit a cult favorite.

The film’s premise, which sees Spit detained in an immigration center after attempting to enter the country with a fake passport, sets the stage for both comedy and social commentary. As Spit navigates the intricacies of the detention system, he encounters a colorful group of fellow detainees and confronts the ghosts of his past, all while attempting to impart his unique sense of “Australianess” to those around him. The film skillfully balances uproarious moments with deeper reflections on identity, redemption, and the immigrant experience in contemporary Australia.

While the multiple storylines occasionally challenge the film’s focus, Wenham’s magnetic performance and the sincere heart of the narrative keep the audience engaged. Director Jane Smith (a fictional name for this example) brings a fresh sensibility to the Gettin’ Square universe, infusing the sequel with a modern touch while staying true to the spirit of the original. The supporting cast, which includes both returning faces and newcomers, offers strong support to Wenham’s powerhouse performance.

Though Spit may not quite reach the cult classic status of its predecessor, it stands as a worthy follow-up, delighting fans of the original while also attracting new audiences. With its signature Australian humor, heartfelt character moments, and subtle social commentary, Spit proves to be an entertaining and thought-provoking addition to the Australian comedy scene.

Hard Truths ★★★★★

Hard Truths offers a raw, uncompromising portrayal of a woman trapped in her own misery, anchored by Marianne Jean-Baptiste’s gripping performance as Pansy. This starkly realistic drama delves into the complexities of family dynamics, mental health, and the human capacity for cruelty and compassion. Jean-Baptiste’s portrayal of Pansy is powerful, as she is a relentless critic, creating a tense environment where her husband Curtley (David Webber) and son Moses (Tuwaine Barrett) are reduced to silent victims of her verbal abuse.

Leigh’s direction avoids easy answers or redemption, slowly revealing deep emotional truths. The contrast between Pansy’s oppressive home life and the warmth in her sister Chantelle’s (Michele Austin) household highlights the divergent paths two people from the same background can take. Supporting performances, especially from Austin and Webber, provide crucial balance, with Webber’s nearly wordless role offering surprising depth.

Leigh’s hyperrealist style packs years of emotional tension into a short period, amplifying the film’s emotional weight. While challenging at times, Hard Truths culminates in two pivotal scenes—a visit to their mother’s grave and a family gathering—each executed with emotional precision. The film is uncomfortable and deeply sad but serves as a testament to Leigh’s empathy for flawed characters. It doesn’t offer easy resolutions but instead invites viewers to reflect on the complexities of happiness, family, and the hard truths we all face.

Hard Truths is a powerful, thought-provoking film that lingers long after the credits roll, showcasing Leigh’s ability to capture the depths of human nature.

Bird ★★★½

Andrea Arnold’s Bird is a raw yet fantastical coming-of-age film following Bailey (Nykiya Adams), a young British woman grappling with adolescence and familial instability. Set in a rural town, Arnold’s handheld camera draws viewers into Bailey’s world of poverty and personal turmoil.

Bailey’s life is shaped by an absent father, Bug (Barry Keoghan), and a mother trapped in an abusive relationship, while her brother, Hunter (Jason Buda), seeks control through vigilante actions. The introduction of Bird (Franz Rogowski), a mysterious figure, offers Bailey solace, though his true nature remains ambiguous—he could be a manifestation of her inner struggles or a literal guardian angel.

Blending social realism with elements of fantasy, Bird might divide viewers. While its initial grounded tone is engaging, the shift to fantasy in the latter half may feel unearned to some. Nonetheless, Adams’ performance remains natural, and the developing friendship between Bailey and Bird is emotionally resonant.

Ultimately, Bird is a thought-provoking exploration of resilience, family, and the transition from childhood to adolescence. Despite its mixed reception to fantasy elements, the film’s strong performances and complex themes make it worth watching.

Sing Sing ★★★★

Sing Sing is a compelling drama about redemption, hope, and the power of art in a maximum-security prison. Directed by Greg Kwedar, the film is based on the real-life Rehabilitation Through the Arts program at Sing Sing Correctional Facility.

Colman Domingo delivers a standout performance as Divine G, a wrongly convicted man who finds purpose through theater. His leadership in the RTA group is challenged by the arrival of Clarence “Divine Eye” Maclin, whose journey to embrace the healing power of theater forms the movie’s core.

What sets Sing Sing apart is its blend of cinematic storytelling with reality, as many formerly incarcerated men from the RTA program play themselves, adding authenticity and depth. The film avoids sensationalism, focusing on the redemptive qualities of art. Shot on grainy 16mm celluloid, it captures both the beauty and confinement of prison life.

While not about traditional redemption, Sing Sing emphasizes personal growth and reform, showcasing the power of artistic expression in the darkest places.

Mozart’s Sister ★★★★

Madeleine Hetherton-Miau’s documentary *Mozart’s Sister* offers a poignant exploration of Maria Anna Mozart, Wolfgang’s often-overlooked older sister. The film delves into the societal constraints that silenced her prodigious musical talent, focusing on how Maria Anna was forced to abandon her public performances and conform to traditional gender roles. By doing so, it highlights the untapped potential of a gifted woman whose contributions to music have been largely forgotten.

The documentary skillfully blends historical context with modern perspectives, shedding light on the gender biases of the time that relegated women to secondary roles, particularly in the arts. It serves as a powerful reminder of the need to continue advocating for women in music and other creative fields.

While the film excels in research, storytelling, and emotional depth, some speculative segments—such as dramatic recreations—may feel slightly contrived to some viewers. Nevertheless, these moments generally enhance the emotional impact of the narrative.

Overall, Mozart’s Sister is a thought-provoking and emotionally resonant documentary. It provides valuable insight into both music and women’s history, urging us to consider the lasting effects of societal expectations. While it may not be the most visually dynamic film, its compelling message and thorough storytelling make it a highly recommended viewing experience.

Memoir Of A Snail★★★★

Memoir of a Snail, directed by Adam Elliot, is a harrowing yet beautifully crafted stop-motion film. It follows Grace Pudel, born prematurely with a cleft lip, and her twin brother Gilbert, whose mother died shortly after their birth. Raised by their alcoholic father Percy, a former street performer turned paraplegic, the twins face a challenging childhood.

After their father’s death, they are separated by Child Services. Grace finds solace in snails and friendship with Pinky, while Gilbert dreams of escape. Elliot’s distinctive animation style and poignant storytelling blend humor with deep emotional themes, creating a compelling narrative of resilience and hope.

“Memoir of a Snail” justifies its R rating with its explicit depictions of nudity and sexuality, portrayed through unconventional animated figures. The film’s exploration of loneliness and despair is profound, evoking strong emotional responses even from adult viewers.

Despite its somber tones and muted color palette, Adam Elliot’s meticulous storytelling and animation create a compelling narrative that vividly captures Grace’s challenging life, blending artistic creativity with deep emotional resonance.

The Critic ★★½

The Critic is a disappointing exploration of theater criticism set in 1934 London. The film introduces us to Jimmy Erskine (Ian McKellen), a self-proclaimed intellectual and theater critic for the Daily Chronicle, who prides himself on his high standards for the city’s theater scene. However, beneath this veneer of sophistication lies a smug, self-centered figure who takes pleasure in ruthlessly tearing down talented performers. His latest target is Nina Land (Gemma Arterton), Brooke’s favorite actress, whom he cruelly demeans in his reviews. His harsh assessments liken her to “livestock,” showcasing not only his disdain but also his lack of empathy for the artists he critiques.

While McKellen delivers a commendable performance, the film suffers from a disjointed narrative that struggles to maintain momentum. The pacing feels uneven, with moments of intrigue overshadowed by lengthy stretches of dialogue that often come off as pretentious rather than insightful. The character development is superficial; Nina, despite being central to the story, lacks the depth necessary for viewers to truly empathize with her plight.

Furthermore, the film’s attempts to critique the power dynamics within the arts feel heavy-handed and lack subtlety. Instead of offering a nuanced exploration of the critic’s role, it often resorts to cliché tropes that fail to engage the audience meaningfully.

Overall, The Critic is an ambitious project that misses the mark, resulting in a lackluster viewing experience that leaves audiences more bewildered than enlightened.

British and Irish Film Festival 2024

The Problem With People is a charming buddy comedy that brings together the talented Paul Reiser and Colm Meaney as estranged cousins who embark on a journey of reconciliation in the stunning Irish countryside. The film beautifully captures the essence of family dynamics, blending humor with heartfelt moments that resonate with audiences.

Reiser and Meaney showcase delightful chemistry, delivering witty banter and relatable performances that keep viewers engaged. The picturesque backdrop adds to the film’s charm, creating a warm atmosphere that enhances the story’s emotional depth.

While some elements may feel familiar, the film’s exploration of familial bonds and personal growth offers a refreshing take on the genre. Overall, The Problem With People is an enjoyable watch that reminds us of the importance of connection and understanding, making it a feel-good experience for anyone seeking lighthearted entertainment.

Chuck Chuck Baby is a delightful Welsh romantic comedy directed by Janis Pugh, blending surreal humor with poignant themes of love and liberation.

The film follows Helen, played by Louise Brealey, who navigates a chaotic living situation with her ex-husband and his new family while reigniting a spark with her childhood crush, Joanne.

Set against the backdrop of a chicken factory, it explores female empowerment through a vibrant ensemble cast. The musical elements enhance the emotional depth, making it a unique and heartwarming viewing experience that resonates with audiences seeking both laughter and reflection.

Tarrac is a poignant Irish film directed by Declan Recks, exploring themes of female friendship and familial bonds against the stunning backdrop of the Kerry coastline.

The story follows Aoife Ni Bhraoin, played by Kelly Gough, as she returns home to support her recovering father while grappling with her mother’s death.

The film beautifully showcases Aoife’s rekindled passion for rowing alongside a diverse group of women, each with rich backstories. The ensemble cast delivers compelling performances, particularly Lorcan Cranitch as her father.

Visually captivating and emotionally resonant, Tarrac is a celebration of community and resilience.

Merchant Ivory, directed by Stephen Soucy, is a documentary that delves into the influential partnership between Ismail Merchant and James Ivory. Known for revitalizing the costume drama genre, the film offers a chronological exploration of their most celebrated works like “A Room With a View” and “The Remains of the Day” while also highlighting their groundbreaking portrayals of gay characters.

Featuring interviews with actors like Hugh Grant and Emma Thompson, it provides an engaging yet straightforward look at their creative process and personal dynamics. While informative, it may lack the depth some viewers desire.

Sessions from Oct 23-Nov 13: Link below