The bond between a mother and her missing son is pushed to extremes as she descends into the treacherous underbelly of a city spiralling out of control.
Vicious yet tender, The Prince explores the forced connections and surprising intimacy among prisoners in quite literally a cutthroat world.
AFRICAN APOCALYPSE is not an examination of grainy photographs and dusty historical sources but one of an enduring legacy of oppression and white supremacy. Jim Ross reviews.
With inconsistent characterisation and the film’s lack of romantic chemistry, even the glimmers of legitimate social commentary cannot stop AMMONITE from succumbing to blandness and adding very little to an already overcrowded genre. Megan Christopher reviews.
Shirley Jackson’s fiction permits us to try a taste of madness. Her stories, published from the late 40s until her death in 1965, are fixated on the Gothic and the macabre. Her writing is frequently concerned with not only what is taboo or strange, but also the prying eyes of curious bystanders who can never … Continue reading Shirley and the Taste of Madness
Posy Dixon’s portrait is one of a kind soul, blessed with a talent that seems both refined and spiritual. It’s an honour to spend time with him. Scott Wilson reviews.
Part queer allegory and part folklore with hints of stoner comedy, A DIM VALLEY is hard to define and pin down.
Not only is I AM GRETA reason to care about the climate crisis, but also the need for accountability. Scott Wilson reviews.
Brandon Cronenberg’s POSSESSOR offers a glimpse into a same psychedelic world where human bodies are mannequins and the banality of physical existence is a visceral horror.
Megan Christopher highlights some of the best LGBTQ+ shorts that played the London Film Festival 2020.