This month’s theme is lesbian Belgian directors. Chantal Akerman hates labels but fits the bill. We look back at her drowsy meditation on Proustian obsession, LA CAPTIVE.
Murder, drug binges, espionage, prostitution… the early British film industry revelled in salacious behaviour fit to match any Hollywood gossip column, writes Amanda Randall.
On the 20th April, British Silents and BFI presented an all day programme of London-related film at London’s Cinema Museum. Keith Braithwaite describes the experience.
“They make phone calls without saying hello or goodbye and in-between speak only in imperatives, replying in monosyllables.” Martin McGuigan looks at the wild world of Noir.
There aren’t many cinemas left in this country that are over 100 years old. Happy centenary to the pioneer of the Picturehouse group: the Phoenix in Oxford!
When a scientist starts to experiment with a drug which makes him invisible, little does he know the trouble it will unleash. But the star turn in THE INVISIBLE MAN is hysterical landlady Una O’Connor, writes Eve Stebbing.
The documentary panel at Watersprite explained how the opportunities that documentary filmmaking offers can lead to a filmmaker changing the world.
Jonathan Toomey experiences the extraordinary diversity of this leading UK animation festival.
Despite the fact that Johannesburg is thriving with various film activities, schools, clubs, studios and many cinema complexes, it was only in February 2012 that the first Jozi Film Festival was inaugurated.
HITCHCOCK and THE GIRL use cinema to simultaneously observe and attack Hitch whilst airing the dirty laundry of a man who can no longer answer back, writes Ed Frost.