In NOTES ON A SCANDAL, a wealthy bohemian art teacher starts an ill-advised affair with a student. All of that might’ve been okay if it weren’t for Barbara, played flawlessly by Judi Dench: Patrick Fowler’s nominated madwoman.
Is Mabel truly mad, or just misunderstood? Sarah McIntosh looks back at the cunning Cassavetes classic A WOMAN UNDER THE INFLUENCE, as part of our MADWOMEN theme.
“She has done for me at last, Rachel my torment…” Ann Linden’s pick for the MADWOMEN season is Olivia De Havilland as MY COUSIN RACHEL.
Told like a fairy tale, GHOST IN THE MACHINE is fun, rich and wicked. Kim Boyd reviews Oliver Krimpas’ short, which enjoyed great success at Cambridge Film Festival and at LSFF.
Liberal, progressive, feminist approaches to issues such as mental health and crime in a selection of films from 1910 – 1925? Jo Shaw attended the PSSST! Silent Film Festival in Zagreb.
SKYFALL delivered a Bond for the 21st century, post-Bourne era. But does it represent an unwillingness to let the franchise evolve? What do we even want from James Bond? Jim Ross ponders.
Today marks the anniversary of the death of one of the greatest neorealists, Vittorio De Sica. Rosy Hunt reviews his comedy anthology in which Sophia Loren and Marcello Mastroianni play three odd couples.
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.
As SIGHTSEERS hits our screens Patrick Fowler speaks to director Ben Wheatley and writer/actor Steve Oram about holidays in caravans and spoilers in trailers.