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.
MONOS invites us to see ecstatic truth against brutal unreality in a film that uses cinema to its fullest potential. Simon Bowie reviews at BFI LFF.
THE FAREWELL speaks profoundly about how we express love, how we express truth, and how those often aren’t the same thing. Simon Bowie reviews.