MUSE: Luca (Geza Rohrig) is considered to be one of the greatest artists of his generation. At the peak of his career, he is lauded, feted and collected by all. However, the side effects of his newfound fortune and fame have left him agoraphobic, crippled by depression and battling with his demons on a daily … Continue reading Muse Interview: Candida Brady and Titus Oglivy
The title of THE TWO POPES alone sounds makes it sound like a religious film that will pack a punch of witty jokes. What the film circulates and builds upon is the cult of personality that surrounds the role of Pope and the papacy as a whole. Elle Haywood reviews.
Even if one does not enjoy vicariously exploring the muddied streets of Paris in I LOST MY BODY, at least one thing is for sure: you will never be able to look at your own hands the same way again. Grace Han reviews.
The surface pleasures of MARTIN EDEN are profound in themselves, but the pleasure they provide compounds when you realise that surface itself is a tissue of lies. The screenwriter Maurizio Braucci described the film, with a shocking eloquence, as “a dream of the twentieth century”, and it’s difficult to express how accurately the phrase represents … Continue reading Martin Eden
This programme of shorts at Edinburgh Short Film Festival will both engage your mind and leave you wondering about what, if anything, is out there.
COPING MECHANISMS is a strong selection of shorts. ESFF has collated an engaging programme which raises a number of important questions and rebuts pre-existing stereotypes around underrepresented issues such as disability and mental health.
EARTHRISE offers a sobering reminder of just how small we are – and a blissful portrayal of just how far we’ve come.
PAUSE is most certainly deserving of the awards it has won, and perhaps others, for its impeccable representation of a story that we as an audience often assume and take for granted.
The SHORTS TO FEAR collection is compiled of four works, each with their own style, and all more twisted and unsettling than the last.
Frank Borzage won the inaugural Academy Award for Best Director in 1927 for 7TH HEAVEN and it’s not hard to see why. A full-blooded romantic melodrama, it gave the ripest of plum parts to Janet Gaynor.