Andrew Kötting’s latest film, THE WHALEBONE BOX, is an abstract and beguiling psychogeographic documentary about the journey of a box.
MY FIONA is a promising debut from Kelly Walker and a heartfelt film about the complexities of life and grief.
By helping people across borders, across sexualities, across genders, THE LAWYER tells us that we can challenge oppressive systems, use our privilege to help others, and improve the world for marginalised people.
The ‘gore cut’ of the film – screening at Glasgow Film Festival – cements TAMMY AND THE T-REX’s status as unapologetically campy nonsense best seen in a cinema with other people. Simon Bowie reviews.
Like a half-remembered video game that you played as a kid that now you come to describe to someone as an adult, JESUS SHOWS YOU THE WAY TO THE HIGHWAY sounds utterly improbable but is never boring. Simon Bowie reviews.
VHYES celebrates VHS and ‘80s TV aesthetics by recognising that, like music recorded on vinyl, the imperfections of the format are what it makes it special. Simon Bowie reviews.
Lynch’s late work continues to circle back to the art and style that drew him to cinema in the first place. Simon Bowie reviews the short film now available on Netflix.
Perhaps this quiet series of images and poetry would provoke entirely different ideas and radically different truths in someone else. CAMPO is a field that we fill with our own interpretation of life. Simon Bowie reviews.
TELL ME WHO I AM’s subject matter necessitates a certain sense of discomfort in its audience but not the sense of invasiveness that mars the story by pulling it out of the context of real life. Simon Bowie reviews.
Like the plant of the title infects those around it, LITTLE JOE gradually infects you with its languid cinematography, a terrifically subtle central performance, and a wonderfully puzzling sense of ambiguity. Simon Bowie reviews from BFI London Film Festival.