A comprehensive collection of reviews featured on Talking Shorts in the past.
Not sure where to look and cut, Jasna Safić’s portrait of an old man suffering from a mental illness makes up for its shortcomings by embracing a selfless humanity.
Rita Barbossa presents a woman in need for real connection and underlines the right to embrace the pleasures of life without shame.
Through symbolism and suggestive framing, Zoljargal Purevdash tells a story of contemporary Mongolia’s troubles.
This Queer Palm winning short film holds an unattainable allure: unconventionally poetic yet accessible, personal but universal.
Carlos Gómez Salamanca tells an intensely personal drama, a complete life trajectory, reflecting on a turbulent societal condition.
Diana Cam Van Nguyen’s festival hit is a personal story that becomes one of intergenerational and -cultural confrontation.
Nikita is a young teenager and a real techno music aficionado. Berlin is calling in this Eastern European love child of Gaspar Noé’s Climax and Xavier Dolan’s Mommy.
The past is inescapable for the protagonists in Marie Larrivé’s Noir-Soleil, in which the filmmaker wants us to pay close attention to “unmoments”—seemingly unimportant short occurrences where the characters stare into space or an animal moves between the bushes.
In Doytcheva’s account of Bulgarian queer life, we are constantly reminded that identification does not have to be tied in to subjective manner of narrating.
Portuguese filmmaker Diogo Costa Amarante’s follow-up to his Golden Bear-winning 2016 short Small Town with a more straightforward celebration of the power of friendship.
Randa Maroufi offers a look through the cracks of a social issue that usually remains underexposed. Her radical formalistic choices might simplify the problem for the greater good, yet never lose sight of the individual tragedies.
Two Falangists have come to disturb the domestic evening rituals of Paz and her family. Pedro Peralta’s talent celebrates the dignity of his fearless protagonist.
Ismaël Joffroy Chandoutis’ Maalbeek—part collage film, part experimental video art—challenges the documentary genre.
Meryam Joobeur’s major festival hit, exploring the tensions within a Tunisian family, is cinematically and ethically flawless.
