Keyword : Independent Cinema
The definitive interview on one of Montreal's most notorious independent feature films, Subconscious Cruelty. Enough said.
Genghis Blues touches the very core of the human soul -as great music does- and demonstrates with poetic simplicity how music can be the great cultural leveler. How else can you explain the immediate, symbiotic link that is established between a burly, blind, near-forgotten San Franciscan bluesman and the people of a remote Central Asian nation, Tuva?
Every now and then a horror film comes out that reaffirms one's tenuous faith in the Hollywood “major” Independent studios. The Prophecy is one such film.
A Gun for Jennifer is a ballsy, energetic feminist revisionist take on the traditionally male revenge action film. After a successful festival run, it has seen comparisons to such female revenge films as Ms. 45 and Thelma and Louise, though...
Both the Canadian Kissed and Spanish Aftermath deal with the taboo subject of necrophilia. However, the respective filmmakers Lynne Stopkewich and Nacho Cerdà are as far apart in approach as there native countries are geographically.
The Love God is easily one of the most wildly inventive, original American genre films of recent years.
During the Hollywood Studio period (roughly 1920 to 1950), the demarcation line between the majors and the independents was quite clear. The majors, the “Big Five” (Warners, MGM, RKO, Paramount, Fox) and “Little Three” (Columbia, Universal, United).