![]() Where the Ukrainian crisis has inspired a surfeit of nightmarish, concrete-hard documentaries and features from auteurs such as Sergei Loznitsa, Stepanska’s film casts a gentler but equally incisive gaze on those managing everyday life in the cracks. A shiveringly delicate 2017 debut feature from Ukrainian director Marina Stepanska, it’s a first-blush portrait of young love that doubles subtly as a new generation’s essay on guarded hopes and stunted futures in a conflict-raddled corner of Europe. It is, if you will, the Lidl of indie cinema: few familiar titles will jump out even to well-informed cinephiles as they browse the Flix Premiere menu, but that’s not to say many of them aren’t very good value.Ī film such as their recent addition, Falling – one of the few I recognised from my festival travels, and fondly so – would be enough to justify a month’s subscription on its own. If the name evokes a kind of off-brand Netflix, that’s no accident. Now in its fourth year of operation, the UK-based outlet isn’t just a streaming service, but an underdog distribution company that picks through the purgatory of independent films left unsold on the festival circuit, offering an exclusive platform to what they deem the best of the bunch. That’s where sites such as Flix Premiere are stepping into the breach. ![]() Many remain in that limbo for good reason, though festivals from Cannes to Karlovy Vary abound with off-the-radar gems that will never find the audience they merit. As the average number of weekly cinema releases climbs further into double figures, those titles represent but a small, privileged drop in the ocean of films floating around the festival circuit, searching for any form of distribution. There are, at any given moment, more films being made than anyone reasonably knows what to do with. I f cinema as a medium is up against the wall, as some industry doomsayers are fond of observing, no one can say it’s for lack of product.
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