The Innocents
Re-released as part of the BFI’s Gothic strand, THE INNOCENTS is a work of haunting resonance, writes Gavin Midgley.
Re-released as part of the BFI’s Gothic strand, THE INNOCENTS is a work of haunting resonance, writes Gavin Midgley.
Abdellatif Kechiche’s Palme d’Or-winning drama is an extraordinarily vivid portrayal of the highs and lows of love, writes Gavin Midgley.
Andrew Bujalski’s bizarre curio raises big questions about technology and the nature of intelligence, writes Jim Moore.
Spike Lee’s remake of OLDBOY is a noble yet pointless and perfunctory attempt to retell the story for the subtitle-phobic, writes Patrick Fowler.
Dark, witty and utterly inspired, Švankmajer’s FAUST is a work of maniacal genius, writes Hannah Clarkson.
Alexander Payne demonstrates a humanity that has defined his career with his warm, humorous road movie NEBRASKA, writes Andrew Nickolds.
Say what you like about Francois Ozon: he constantly manages to wrong-foot you, writes Andrew Nickolds.
SAVING MR BANKS looks at the father-daughter relationship that inspired MARY POPPINS. Our relationships define us and the stories we tell, writes Alison Hicks.
Coming straight off his starring role in Godard’s A BOUT DE SOUFFLE, Belmondo here plays a more conventional type of crook in CLASSE TOUS RISQUES.
Stephen Frears’ emotional crowdpleaser boasts a memorable partnership in Steve Coogan and Judi Dench, writes Gavin Midgley.