Film Daze

Film Daze is a unique independent publication that aims to highlight the voices that often go unnoticed in the film industry. We focus on sharing insights about visual media, including both film and television, with the goal of reshaping how readers perceive these art forms, both historically and currently. The power of visual storytelling stirs deep feelings, and our vibrant community of young, diverse writers is committed to expressing their enthusiasm and distinctive views on what makes this medium significant for everyone.

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Cannes 2025 Review: ‘Highest 2 Lowest’

2 weeks ago | filmdaze.net | Farah Cheded

Akira Kurosawa’s High and Low is the kind of film you watch in a state of quasi-paralysis. The 1963 noir is both taut moral thriller and enthralling procedural — a film of relentless jaw-clenching tension and compulsive rhythm that sets the bar for everything it does. In short, it’s a masterpiece, and so it was always going to be tough for anyone to replicate its magic with a remake, even for a filmmaker of Spike Lee’s stature.
Cannes 2025 Review: ‘The Phoenician Scheme’

2 weeks ago | filmdaze.net | Farah Cheded

Wes Anderson is, quite famously, a details guy. Perfect symmetry, immaculate composition, and absolute devotion to every tiny element of his dollhouse creations — his work (and that of his behind-the-scenes collaborators) is dazzling in its dedication to the little things. The Phoenician Scheme, which premiered at the Cannes Film Festival, is no outlier in this respect.
Review: At Cannes, ‘The Mastermind’ Said the Unspoken

3 weeks ago | filmdaze.net | Farah Cheded

Attending the Cannes Film Festival — like many things right now — is a dissonant experience. In between the buzzy back-to-back screenings, star-studded events, and myriad other shiny distractions this year, there were harrowing news headlines to be read that made all this focus on celebrity feel obscene, knowing a genocide was raging, virtually unobstructed, on the other side of the world.
‘From Ground Zero’ Review: A Vital Testament to Palestinian Resilience

Mar 5, 2025 | filmdaze.net | Farah Cheded

“The epic [is] for Israelis and the documentary for Palestinians.” That’s how legendary filmmaker Jean-Luc Godard is said to have wryly described Palestinian cinema — as being confined by its political reality to capturing only that reality. In the weeks following October 2023 — the period in which From Ground Zero was shot — that political reality was the starkest it had been in decades.
TIFF ‘24 Review: There is Something Off About ‘Heretic’

Nov 14, 2024 | filmdaze.net | Alisha Mughal

There’s something off about Scott Beck and Bryan Woods’s Heretic, something rotten at its pit that leaves the film feeling macabre in its subtext in a way that feels unintentional. The film follows two young women, Mormon missionaries Sister Paxton (Chloe East) and Sister Barnes (Sophie Thatcher) as they visit the home of Mr. Reed (Hugh Grant).
TIFF ‘24 Review: The Insatiate Horror of ‘The Girl with the Needle’

Nov 14, 2024 | filmdaze.net | Alisha Mughal

Velvety shadows cut into the pristine fabric of light like sharp daggers, and faces contort with devious abandon under the weight of a brutal existence. Amidst the cold indifference of a stony city, a warm friendship is first forged and then cataclysmically broken. A visual feast of glorious strangeness, The Girl with the Needle offers us a beautiful, audacious monster, the likes of which we haven’t seen in nigh on a hundred years.
TIFF ‘24: The Tender Embrace of ‘Sweet Angel Baby’

Nov 14, 2024 | filmdaze.net | Alisha Mughal

In Melanie Oates’s Sweet Angel Baby, a small fishing town rests calmly against the roiling and raging Labrador Sea. Everything moves with the grain in town — if you grow up here, you either move away or stay forever, marrying your high school sweetheart and aging into your parents, maybe with a bigger and more expensive house.
TIFF ‘24 Review: The Immense Power of ‘Santosh’

Nov 14, 2024 | filmdaze.net | Alisha Mughal

As you watch Sandhya Suri’s Santosh, you can feel it crawl under your skin and make its way into your blood, hastening its pace until your heart is in your throat and you can taste steel. As you watch Santosh, you can feel it possess you, so much so that when you walk out after the credits, you feel blood on your hands.
TIFF ‘24 Review: ‘We Live in Time’ is Uneven and Underbaked

Nov 12, 2024 | filmdaze.net | Alisha Mughal

I left We Live in Time with tears in my eyes, walking in a bleary-eyed bubble filled with sweetness and love blown by the tender end of the romantic drama starring Florence Pugh and Andrew Garfield. The bubble burst when I overheard a man leaving the theater behind me saying to a friend, “He was such a pushover!” In an instant, the bubble burst, and I was left to consider a wrinkle I felt in the film as I was watching, but that I wrote off as my own cynicism about romance.
TIFF ‘24 Review: ‘Gülizar’ Steadily Thwarts Expectations

Nov 12, 2024 | filmdaze.net | Alisha Mughal

In Belkis Bayrak’s Gülizar, Gülizar’s (Ecem Uzun) and her fiancé Emre’s (Bekir Behrem) gazes never manage to meet. As one looks up, the other looks down, and each finds their desire for understanding, for steady ground in the other, frustrated over the course of mere seconds. It’s small and apparently inconsequential, but Bayrak telegraphs this miniature tragedy time and again in the film, and each time it lands with heartbreaking heft within an already heartbreaking film.