Kelley Dong

Heartbound (Janus Metz & Sine Plambech, Denmark/Netherlands/ Sweden) — TIFF Docs

By Kelley Dong / September 9, 2018

By Kelley Dong Hidden in the grassy seaside of northwestern Jutland, the matronly Sommai has arranged for hundreds of marriages between Thai women and Danish men for more than 30 years. Between 2007 and 2018, documentarian Janus Metz (Borg vs McEnroe) and anthropologist Sine Plambech (Trafficking) closely followed Sommai and her construction of a migration…

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Float Like a Butterfly (Carmel Winters, Ireland) — Discovery

By Kelley Dong / September 4, 2018

By Kelley Dong In Carmel Winters’ Float Like a Butterfly, a police altercation on the grounds of an Irish Traveller encampment culminates in the death of a young mother and the arrest of her husband. This tragedy inspires their daughter Frances’ (Hazel Doupe) dream to become a great fighter like Muhammad Ali. But unlike Ali,…

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Stupid Young Heart (Selma Vilhunen, Finland/ Netherlands/Sweden) — Contemporary World Cinema

By Kelley Dong / September 2, 2018

By Kelley Dong In Selma Vilhunen’s sophomore feature Stupid Young Heart, white nationalism exists as a necessary evil during a young boy’s rite of passage. Routinely bullied for his small stature, Finnish teenager Lenni (Jere Ristseppä) oscillates between reticence and bouts of anger. Kiira (Rosa Honkonen), Lenni’s hip-hop dancing classmate, is pregnant with his child.…

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Too Late to Die Young (Dominga Sotomayor, Chile/Brazil/Argentina/ Netherlands/Qatar) — Discovery

By Kelley Dong / August 31, 2018

By Kelley Dong All play and no work is a dangerous game in Too Late to Die Young, the third feature by Chilean filmmaker Dominga Sotomayor, winner of the Golden Leopard for Best Director at this year’s Locarno festival. Recalls the dreamy, pastoral pastels of painter George Seurat, the film is set in 1990 and…

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Transgressions in the Dark Age: The Films of Kim Ki-young and Lee Hwa-si

By Kelley Dong / June 25, 2018

By Kelley Dong “For me the vast open field of the unknown and the prison existed simultaneously.” — Kim Hye-soon, “Sorrowtoothpaste Mirrorcream” After a string of US-funded anti-communist documentaries and neorealist melodramas, Korean director Kim Ki-young entered a new phase of his filmmaking with the wildly successful “Housemaid Trilogy,” comprising The Housemaid (1960) and its…

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