The Machine Which Makes Everything Disappear
Hannah Clarkson recounts the stories of the young dreamers in Tinatin Gurchiani’s quietly astonishing THE MACHINE WHICH MAKES EVERYTHING DISAPPEAR.
Hannah Clarkson recounts the stories of the young dreamers in Tinatin Gurchiani’s quietly astonishing THE MACHINE WHICH MAKES EVERYTHING DISAPPEAR.
EMPEROR deals with an interesting moment in the aftermath of World War II, but Owen Baker isn’t convinced by its treatment of history.
Doose’s film is a realistic and emotionally affecting portrayal of complicated family relationships, writes Sophie Skinner.
This is not confection filmmaking: it is an awareness piece that is distressed, and needs you to be distressed along with it, writes Joe De-Vine.
Subversive at the time of its original release, DRESSING FOR PLEASURE retains an element of being “out there” even now, writes Alison Hicks.
Mark Liversidge finds plenty to recommend in Shan Khan’s directorial debut, which tackles the sensitive issue of honour killings.
Jim Moore is moved by the chilly and forbidding COLD of Uğur Yücel’s sordid and noirish tale.
Hannah Clarkson reviews Stephen Brown’s intense adaptation of John Banville novel THE SEA.
Although Peschel might have placed a higher value on subtext, the film won healthy applause at Cambridge Film Festival, writes Joe DeVine.
FREE FALL (Freier Fall) boldly channels BROKEBACK MOUNTAIN in an industry that hasn’t fully buried the hatchet, writes Joe DeVine.