This is not confection filmmaking: it is an awareness piece that is distressed, and needs you to be distressed along with it, writes Joe De-Vine.
Although Peschel might have placed a higher value on subtext, the film won healthy applause at Cambridge Film Festival, writes Joe DeVine.
FREE FALL (Freier Fall) boldly channels BROKEBACK MOUNTAIN in an industry that hasn’t fully buried the hatchet, writes Joe DeVine.
Joe De-Vine hopes that this dazzling double-bill of MARIUS and FANNY will delight and surprise audiences as much as it did him.
PIECES OF ME, French director Nolwenn Lemesle’s first foray into feature-length filmmaking, is an astute account of teenage angst, writes Joe De-Vine.
An authentic depiction of a tragic journey, LA PIROGUE sets the bar high for Ang Lee’s upcoming LIFE OF PI adaptation, writes Joe DeVine.
Joe De-Vine challenges the critics and scholars who have found fault with David Lynch’s portrayal of disability, and over-reliance on subjective accounts, in THE ELEPHANT MAN.
Professor Vanessa Toulmin introduced THE ELEPHANT MAN at Cambridge Arts Picturehouse recently, as part of the Darwin Correspondence Project’s ‘Darwin and Human Nature’ series.
DUMBO plays on themes that are universally fear-inducing for children: isolation, bullying and embarrassment, writes Joe De-Vine.
Although the remake of PUSHER is a striking visual contrast to the original, nothing on the scale of Winding Refn’s trilogy is ever wholly achieved, writes Joe De-Vine.