Jimmy Olsson frames and directs the character of Viktoria in ALIVE in a way which empowers her and conveys her charisma and humour with a realist subtlety and restraint.
BOMBSHELL should be celebrated for shining the spotlight on female survivors of sexual harassment. Although flawed in its execution, it is to be hoped that this film will be one of many in a long line of #MeToo era movies. Chris Dobson reviews.
DANIEL ISN’T REAL is the story of a college freshman whose imaginary childhood friend makes a comeback – it’s an accessible and attractive story, but the film’s true strength lies in the subjective experience it offers. Rosy Hunt reviews.
VHYES celebrates VHS and ‘80s TV aesthetics by recognising that, like music recorded on vinyl, the imperfections of the format are what it makes it special. Simon Bowie reviews.
Nadia Bedzhanova’s approach to big life questions is a bit shaky but suggests promise that her characters and narrative might soon stand confidently. Tanja Schangin reviews.
While some fear the acclaim is overhyped, PARASITE will leave you desperate to speak with others about an exceptional cinematic experience. Elle Haywood reviews.
MURMUR illuminates a profound human connection to the realities of alcoholism, but more so to the obstacles that obstruct our desire to change. Steph Brown reviews.
With a delicate and naturalistic performance at the centre from Andrea Riseborough, Zeina Durra’s LUXOR succeeds at painting a portrait of one of life’s pauses for thought; one of the strange stasis and emotions that develop when contemplating one’s life in a once-familiar place. Jim Ross reviews the Sundance selection.
THE PERSONAL HISTORY OF DAVID COPPERFIELD charms its audience with its humour, storytelling and sheer kind-heartedness. James Ashworth reviews.
HIGHER LOVE is a hauntingly heartbreaking film and reveals that Nani is just a drop in a very large ocean of people left behind in a system and a world that sees everything in black and white. Sammy Andie Bennett reviews.