News

There is a sad truth in the fact that we can we can spend a lifetime loving someone without truly knowing them, a realisation that hit filmmaker Max Kane upon the discovery of his grandmother’s diaries when clearing out her house. Marking his third appearance on Dn’s pages following premieres for Duck and House of Brotherly Love, Kane’s deeply personal exploration of memory and hidden truths, Ah-Ma Burns, blurs boundaries between the tangible and ethereal, reflecting a complexity of human understanding. Kane’s approach to filmmaking here is remarkably tactile and intuitive and the film’s visual language evolves as a direct mirror to his protagonist’s emotional journey. This progression isn’t merely a stylistic flourish but serves as the film’s emotional architecture. Kane’s directorial approach centres on creating authentic emotional spaces rather than manufactured moments. Trusting his cast’s work in pivotal scenes...