Welcome to our hub for Film Festival coverage on FilmRoot. Please find direct links below to our most recently covered Film Festivals including reviews and recaps.
AFI Fest brought some of the most highly anticipated international films to Hollywood from the 2025 film festival circuit for a long-weekend celebration of film. AFI Fest gives locals a chance to see a experience a wide range of global stories and film critics a chance to catch up on films from Sundance, Berlin, Venice, and Cannes ahead of any general releases. We broadened our viewing habits this time to include a mix of short films – see our short film recap linked here – to look out for some up-and-coming filmmakers. Our feature film recap below spanned 3 continents – highlighting some stand-out films from Colombia, Armenia, and Spain!
Our Top Three from AFI Fest 2025
1. A Poet (Colombia)
Imagine a tragicomic white-savior movie with the energy of Uncut Gemsand you’ll find yourself close to A Poet. Oscar Restrepo, a proud poet fails to recapture his former success in the empty bottles that leave him shouting drunken verses at transients in the middle of the night. To try and reconnect with his teenage daughter, he turns to teaching, and finds an unpolished gem in one of his students to live his dreams through. However, not everyone understands his intentions. Class and race collide in this roller-coaster tragicomedy powered by an anxious, always moving camera, sudden cuts, and Oscar’s winning smile.
2. My Armenian Phantoms (Armenia)
When I think of compilation films, I think of Los Angeles Plays Itself, and the diary films of Jonas Mekas. The first uses archival clips from a wide range of films set in Los Angeles to show how the city has changed alongside Hollywood, whilst Jonas Mekas uses raw personal footage to document his experiences in a diary format. My Armenian Phantoms borrows from both of these styles to take you on a journey through Armenian film history – spinning you onto a bunch of Armenian films to watch next – whilst writing a moving love letter to her father and Armenia itself.
3. Romería (Spain)
Carla Simon is establishing herself as one of the top filmmakers in Spain. This is just her third feature, but watching it feels like she has been making movies for decades. Just like in her Golden Bear winner Alcarràs, Simon creates a incredibly strong sense of setting and fully fleshed characters in such a short time. In Romería, we swing across Spain, displacing the hot summer of Catalonia’s peach harvest for the grey buildings, overcast skies, and frigid Atlantic seas of Vigo. The setting works to hide family secrets as Marina returns to the city in search of her lost past.
Honorable Mentions
We Believe You (Belgium)
Tensions rise and family secrets unravel over the course of a crucial day in a cleverly crafted court-room drama. The director’s choice to shoot this entire film in tightly framed close-ups keeps the full-picture deliberately hidden from us. Just like the civil court judge, we have to make a leap of faith to believe the words of a strained mother fighting for her children.
Young Mothers (Belgium)
Young Mothers is another authentic drama to add to the already impressive filmography of the Dardenne brothers. The film pieces together 5 unique portraits of 5 different girls at a maternal support home near Liège to paint a picture of the social challenges of teenage motherhood.
Kontinental ’25 (Romania)
Radu Jude always has something to say. Whilst Kontinental ’25 may not as politically powerful as his previous films – such as Do Not Expect too Much from the End of the World and I Do Not Care if we Go Down in History as Barbarians – it still contains his very obvious dark humor. It shifts Europe ’51by laughing at the main character, a bailiff consumed by guilt from an eviction gone wrong, to show the lack of meaningful action taken to reverse the inhumanity of crony capitalism.
Another year, another great slate of films from AFI Fest. We strongly encourage everyone to check out next years edition. Please find previous coverage of AFI Fest here.
If you’re looking for an inspirational documentary that follows a group of trailblazing women in India, consider Writing with Fire. It follows a group of Dalit women – Dalits being the lowest caste in the Indian caste system – that start a newspaper in Uttar Pradesh, one of India’s largest and most politically important states. The newspaper, Khabar Lahariya, stands out from the others both because it’s written only by women and because of its emphasis to seek out the truth no matter what.
It starts with one of the paper’s lead journalists reporting on a local rape case. In it, we witness their reporting process. Meera first interviews the victim’s family for first hand info, then heads to the police station to press them further on the crime, before beginning to form a report. We see this process a few times throughout the film as they interview politicians, Dalit women without sewage systems that the government has promised, and worker’s strikes. Because of the topics they shine a light on and their determination to find answers, they face a lot of trouble.
This is clear when the reporters are out in the field. One reporter has to confront one union leader who at first refuses to talk with her because she’s a woman. Another reporter covering the upcoming elections has to banter with the male politicians just to try and get comments from them. It’s clear that being patronized is a part of their day job in the patriarchal society. However, they also have to put up with it at home from husbands that berate their independent working spirit.
It’s not just the patriarchy that is framed as dangerous to the reporters as the rising Hindu nationalism within India is posed as a threat too. One example is the young member of some kind of Hindu Youth League that patrols his neighborhood armed with a machete to fight crime. His role feels a lot like the Hitler Youth from Nazi Germany. He doesn’t appear to have much direction apart from his hatred of Muslims. The rhetoric of the local politicians are equally alarming, with the directors pointing out the new state leaders remarks that Islam is intrinsically linked with Terrorism. It feels like that the freedom of Khabar Lahariya and its female journalists are threatened by the continued rise of the male dominated BJP Hindu political party.
Lastly, it’s quite interesting to see exactly how a start-up newspaper is run. In addition to seeing how they gather a story from outside, we get to see how the newspaper is run at the office. We see their daily meetings – including one where one reporter gets disciplined for a low output – and hear about their growth strategies. Currently, they’re all embracing the switch to the growing digital reality by equipping all their reporters with camera phones and giving them lessons about YouTube. As the film runs, these YouTube clips are inserted into the narrative as milestones for their growth as their subscribers rocket to a few thousand after a few weeks work.
Whilst it’s probably a bit longer than it needs to be, Writing with Fire is well worth a watch for anyone interested in learning about inspirational women battling the patriarchy around the world. If anything, you’ll learn a bit about the current state of India and running a newspaper.
In colonial Zanzibar, a young revolutionary and runaway wife from different parts of the city meet. As their romance grows, so does their revolutionary fervor in this adaptation of Shafi Adam Shafi’s novel.
It’s rare that you see Tanzanian films on the international film festival circuit, especially those that are directed by Tanzanians. The industry in the East African country is dominated by Swahiliwood’s low budget, rapidly made ‘Bongo films,’ which, like the majority of African cinema industries are largely ignored by Western film festivals. So it’s nice to see a Tanzanian representative on the international film festival circuit in Tug of War, even if it isn’t your typical Tanzanian film. Unlike ‘Bongo films,’ Tug of War‘s production quality matches the criteria for Western film festivals, with beautiful cinematography inspired by Wong Kar Wai, good production design, and great acting. It perfectly fits the Western expectations of ‘good’ international cinema.
The warmly patient pace of Tug of War defines the films tone, characters, and relationships. It’s created through the slow motion shots and orange tinted film that the director, Amil Shivji, uses throughout the film, just as Wong Kar Wai did in In the Mood for Love. The slow motion highlights some of the defining moments in the character’s relationships. This is clearest in the shot of Denge and Yasmin’s first glance of each other. Stretching out this fleeting glance captures the longing in that brief look, symbolically starting the embers that starts their romance. These slow motion moments also signify their enlightenment. One shot shows Yasmin pushing against the flow of a moving crowd. At regular speed, the shot might be forgettable, but in slow motion it becomes symbolic of her going against the grain of her family’s expectations and grabbing her own independence. Lastly the slow motion also emphasizes the link between their budding romance and new-found independence with the anti-colonial revolution that stands against both. This is captured in the slow motion scene of red pamphlets falling between them like wedding confetti (as in the image above).
For a beautifully shot, anti-colonial Tanzanian film inspired by Wong Kar Wai’s In the Mood for Love, watch Tug of War. It features sumptuously warm cinematography, a slow burning romance, and a fight for independence. This interracial, extra-marital love is anti-colonial. Viva la revolución.
As the main categories at the Oscars are becoming more predictable and less diverse, the Oscar Shorts are diversifying. This year, the 15 Oscar Shorts originate from 6 different countries and feature stories from 9. Their issues span from young girls escaping from patriarchy and war by taking up skateboarding to battle rappers running for U.S. office. So forget the Best Picture for a minute and take some time to get to know the Oscar Shorts.
The Animated Oscar Shorts
Daughter (Czech Republic)
A silent story about the relationship between father & daughter, along with the tension between them that grows from the lack of speech – him in his sick bed, her by his side, and a small bird that crashes through their window, allowing unhealed memories to flood back into their lives.
Daughter arguably hosts the most abstract narrative of the five shorts, a story that would, oddly enough, benefit from a little more overhead description. There’s nothing wrong with silent film of this nature at face value, but Daughter shoots its action so frenetically at times, bouncing and careening down staircases and hallways, there’s no denying a little explanation would root this film in something closer to emotion, rather than confusion. -ST
Hair Love (USA)
Following the mysterious absence of her mother, young Zuri looks to her mom’s old blog videos (voiced by Issa Rae) for advice on combing her unmanageable locks. Enter dad, who’s no expert on the subject himself, in a heavyweight match-up against Zuri’s overwhelming curls.
Hair Love combines a more sentimental, dated animation style with pastel colors to resemble more modern 3D studio visuals. It blends well, even if the stylization of Zuri’s hair and her pet cat are somewhat jarring depending on what serves the narrative. But among the five nominees, Hair Love is the closest to serving the values of everyday life, a story in which the simplicity becomes the biggest asset. -ST
Kitbull (USA)
A stray kitten, stubborn and independent beyond help, wanders into the den of a ferocious-looking pitbull. The events that follow bond the two unlikely compatriots in a friendship to set them off on better paths.
Obviously, Kitbull is a profusely charming short film. The titular characters of Kitbull are radical caricatures treated with the movement & attitude of real animals. In appearance, it compounds into a very believable and unlikely adventure, and emotionally, it works into the most tender of this year’s shorts, a tearjerker for the pleasure crowd. -ST
Memorable (France)
Louis lives with his wife Michelle, who encourages his penchant for painting and artistry even as it starts to take over his mind. Slowly, the objects in Louis’ life start to lose shape, disintegrating and releasing their objective state of matter – soon enough, his mind does the same.
Satisfyingly, the most memorable of this year’s animated shorts, “Memorable” is touching and devastating in equal measures. What begins as a commentary on the condition of those who suffer from Alzheimer’s disease mutates into an engaging and abstract visual representation of losing touch. With some hints of Loving Vincent inspiration, Memorable dreams up a piece of filmmaking that only animation could perform, a painful headspace that paints with what we can only imagine outside of the living world. -ST
Sister (USA)
A biopic-esque tale of a young man’s recollection of growing up in 1990s China, welcoming and regretting the recollection of his treatment toward his annoying little sister in their childhood home. He wonders what may have happened had he woven their experiences differently.
An analysis of the Chinese one-child policy, Sister takes a few liberties in re-contextualizing its story to serve a twist ending that doesn’t necessarily benefit its greater message. The felt animation is some of the more impressive as the Academy has ever recognized, but Sister doesn’t focus too much its style over its substance, a somewhat bland take on the premise that tries to aim for too much among an already emotional pool of entries. -ST
The Documentary Oscar Shorts
In the Absence (US/SOUTH KOREA)
When the passenger ferry MV Sewol sank off the coast of South Korea in 2014, over three hundred people lost their lives, most of them schoolchildren. Years later, the victims’ families and survivors are still demanding justice from the national authorities.
In the Absence contains the most memorable images of any of the short films nominated for the Academy Awards. Seeing the MV Sewol slowly sink with most of its passengers on board whilst coast guard operators debate whether the situation is serious enough to send help is chilling. However, taken as a whole short film, In the Absence loses its way visually and narratively in the following scenes. It becomes more reliant on words displayed on bland backgrounds instead of trying to convey the words visually. It also tries to rapidly cover the whole scope of all the disaster and its aftermath in the final 10 minutes, such as the impeachment of the President, which mists the narrative of the film. It might work better if these events were left out instead of referenced without explaining how they affect the main narrative. -RS
Learning to Skateboard in a Warzone (If you’re a girl) (UK/US/Afghanistan)
In Afghanistan, many young girls are not able to participate in sports because of the ongoing war, as well as cultural customs. As a result, there are limited recreational opportunities for women and girls, especially those from impoverished backgrounds. However, Learning to Skateboard in a Warzone (If You’re a Girl) tells the story of a skate charity which helps Afghan girls to read, write, and skateboard in Kabul.
This short documentary covers everything you might expect of a film titled ‘Learning to Skateboard in a Warzone (If You’re a Girl)’. It features a lot of skateboarding in a warehouse, frequent anecdotes of bombs exploding near the student’s homes, and a lot of stories about girls limited by the patriarchy. There aren’t any surprises or cinematographic flourishes as the film doesn’t need them; the combination of skateboarding in a warzone if you’re a girl is already special enough. -RS
Life Overtakes Me (USA)
Over 400 refugee children in Sweden have withdrawn into a coma-like state because of previous trauma. Life Overtakes Me tells the story of two of these traumatized young refugees, and their families, that develop this rare psychosomatic illness called Resignation Syndrome.
Life Overtakes Me shines a light on an unknown illness. Resignation Syndrome still doesn’t appear to be fully understood, which makes it all the more strange and terrifying. The two children shown in the film both appear to be permanently sleeping and their families have no guarantee that they’ll ever wake up or return to normal. Life Overtakes Me shows how heavy the emotional burden is on their families, and also how their refugee status, despite the obvious trauma they’ve experienced, is not guaranteed. -RS
St. Louis Superman (USA)
St. Louis Superman follows Bruce Franks Jr., an activist by day and a battle rapper by night who runs for office in the Missouri House of Representatives. To succeed, he has to overcome personal trauma and political obstacles to pass a bill to recognize the impact gun violence has had on his community.
Bruce Franks Jr. is an example of who should be elected to each state’s House of Representatives. He appears to be a pretty normal guy from Ferguson. He’s a father, he’s from the area, he grew up in poverty, he protests with people in his community, and battle raps as a side hustle at night. The only difference between him and other people from the area is that he ran for office. St. Louis Superman reminded me of a bite-size version of Netflix’s Bring Down the House. Both films feature grass-roots local activists entrenched in their community running for office to make a change. -RS
Walk Run Cha-Cha (USA)
Paul and Millie Cao fell in love as teenagers in Vietnam, but were soon separated by the war. Paul managed to escape from Vietnam, and a few years later managed to get papers for Millie to join him in California. After a few decades of working hard to build new lives abroad, they are making up for lost time on the dance floor. Walk Run Cha-Cha is their story.
Whilst their stories are inspirational, they feel underdeveloped and unemotional. We learn that Paul left Vietnam a few years before Millie, but we don’t hear much about why he left first, why Millie was stuck in Vietnam, and how they coped without each other for those years. We also don’t hear much about the decades they lived together in California before they started dancing. It’s not clear what happened in these decades and how they grew apart (if they did), and why they felt they needed to start dancing together to make up for lost time. Walk Run Cha-Cha could also do with more emotion. Both Paul and Millie tell their stories very factually, without any color, making it harder to sympathize with their struggle to be together. As a result, it feels more like a film about a normal retired couple that takes up dancing as a pass time. At least there’s bonus points for showing off their ballroom dancing at the end. -RS
The Live Action Oscar Shorts
A Sister (Belgium)
Alie is in trouble. It’s night-time, and she’s stuck in a car with her abusive partner. The only thing she has is the person on the other end of the emergency call line.
A Sister is the perfect short thriller. The script fits snugly into the 16 minute run time. Any longer and it would feel stretched, and any shorter and it would feel underdeveloped. A Sister also manages to renew something that has been done before (see The Call) by focusing on a woman in an abusive relationship instead of a woman attacked randomly. Abusive relationships are much more common than random attacks, which makes the film feel more real and the message feel much closer to home. Whilst it highlights the danger of an abusive relationship for women, it also forces men in relationships watching the short to see themselves in her violent male partner. It packs a punch. -RS
Brotherhood (Canada, Tunisia, Qatar, Sweden)
Mohamed is a hardened shepherd living in rural Tunisia with his wife and two sons. However, he’s deeply shaken when his eldest son Malik returns home from fighting with ISIS with a quiet young wife. The silent tension between father and son rises until it reaches breaking point.
Brotherhood is a well-made international art-house short set in Tunisia. The shots of rural Tunisia indicate the beauty of the country as well as the isolation of Mohamed and his family. He doesn’t have any neighbors. His family is completely alone. So when Malik returns and Mohamed refuses to communicate with his son, he cuts him off from his family and society. Without a dad that trusts him, Malik is thrown to the lions. – RS
Nefta Football Club (France)
Nefta Football Club is a light comedy featuring two young brothers living along the Tunisian/Algerian border. Whilst they’re biking through the desert they come across a headphone wearing donkey carrying lots of cocaine.
The synopsis sounds like a recipe for disaster for the two young brothers. However, the director Yves Piat manages to keep the film light, keeping it away from the bleakness of Amat Escalante’s Heli. The lightness is achieved through the absurd images (e.g. a donkey wearing headphones and the final image of the football pitch) as well as the good natured, naïve younger brother who believes the stash is just a lot of washing powder. -RS
Saria (USA)
Saria follows two inseparable orphaned sisters, Saria and Ximena, as they fight against daily abuse and unimaginable hardship at Virgen de la Asuncion orphanage in Guatemala. The film imagines the daily events leading up to the tragic fire at the orphanage in 2017 that claimed the lives of 41 orphaned girls.
It’s great to see more dramatic films from Central America featuring indigenous leads, but Saria felt too short to feel truly invested in Saria’s life. It depicts a very quick build up to a riot, escape, and finale which would be more engaging and thrilling with a bit more time invested into the characters. Ultimately the story would be a better fit for a feature film rather than a short, so hopefully we’ll get to see a feature version of Saria in the next few years that improves the film just like the feature of Les Miserablesand Atlantics built on the short. -RS
The Neighbor’s Window (USA)
The Neighbor’s Window features Alli and her husband, parents of young children fed up with their daily routine and responsibilities. Their frustration increases when a young couple in their twenties move in across the street and show off their affection for each other with complete disregard for whoever is watching. It’s a Rear Window for the Instagram generation.
Just as seeing pictures of your friends traveling around the world on your phone whilst your working long hours in the office drives jealousy, the parents in The Neighbor’s Window rue on their lost youth whilst they watch their young neighbors dramatically make love in the apartment opposite. Their relationship gets worse when they start fighting over a pair of binoculars to help see them clearer. However, ultimately, The Neighbor’s Window shows that the grass isn’t always greener on the other side, and that we should always be grateful for what we have. It’s a life-affirming message that might just win it the best live-action short at the Oscar’s. -RS
Landfall is a political film imbued with anger at the current state of Puerto Rico. It captures life in the aftermath of Hurricane Maria, choosing to depict the current post-Hurricane tragedies instead of the actual Hurricane, and setting them within the history of U.S. imperialism. In doing so, Landfall presents a critique of disaster capitalism (see Naomi Klein’s Shock Doctrine) and the U.S. stranglehold on Puerto Rico and it’s ineffectual politicians.
That being said, the actual footage isn’t inherently political. Each scene from each part of the island is shot observationally without any directorial input or opinion. For example, the profile on the wealthy real estate family by itself doesn’t include any tough questions for the family or a political lens. However, by moving between these profiles of wealthy families and crypto-billionaires and profiles of rural farmers struggling to make a living and activists protesting the governor, the film becomes political. It juxtaposes the increasingly wealthy with the increasingly poor to highlight the growing inequality on the island. And by jumping around the country to visit a range of communities, Aldarondo shows that this inequality is endemic to all parts of the country.
One of the most memorable snapshots captures the arrival of U.S. crypto billionaires. They’ve arrived on the island cloaked in good intentions with promises for employment and wealth via the blockchain. However, when confronted by locals on their similarities with the white American imperialists that preceded them their benevolent facade crumbles. One represents the danger of a white savior – talking down on the locals as if he’s the only one that can solve their issues – whilst another represents the cultural eradication of cultural appropriation in her dreaded hair. Cut with scenes documenting the history of U.S. imperialism and speakers pressing Puerto Rico to privatize the country to encourage foreign investment and the warning signs are clear. Puerto Rico is on the brink of being re-colonized by wealthy Americans looking for a clean tax-haven for their millions. Their arrival is a threat to indigenous Puerto Rican life.
Landfall is made as an urgent warning to the precarious situation on the island. Just like Zuckerberg’s land grabs in Hawaii, and the privatization of post-Katrina New Orleans, post-Maria Puerto Rico is arriving at its own tipping point. Fortunately there is some hope that indigenous way of life prevails, represented in the people protesting the Governor, the community schools, and the family standing up to real estate in Vieques. The fight for Puerto Rico isn’t quite over.
Head to our LALIFF 2021 Hub for more reviews from the 20th edition of LALIFF.
You must be logged in to post a comment.