EUPHORIA is an affecting film that effectively balances human drama with jovial debauchery. Murray Ferguson reviews as part of the Italian Film Festival.
THE DEAD DON’T DIE is not groundbreaking, but Jim Jarmusch manages to breathe some new life into the (un)dead genre. Joe McLauchlan reviews from Cannes 2019.
FATHER is appealing for those familiar with Taiwanese culture, but at the heart of it the film is about a man who has dedicated his life to his father’s craft, and is now facing the loss of that: a tragic story. Amber Heath reviews.
MATTHIAS & MAXIME makes one question whether friendship is love or vice versa. Yemi Chabi reviews at Cannes 2019.
THE BEARS’ FAMOUS INVASION OF SICILY does not only entertain and fascinate, it also wishes to educate its young and adult audiences alike. It is sure to leave an impression after its viewing, writes Yemi Chabi from Cannes 2019.
SUMMER OF CHANGSHA sets out to be an intriguing, philosophical detective noir, but tedious pacing, a complacent, overlong script and lacklustre execution leave the feature feeling grey. Joe McLauchlan reviews at Cannes 2019.
THE GANGSTER, THE COP, THE DEVIL is a simple premise and one which director Lee Won-tae executes with testosterone-fuelled style, if not much substance. Joe McLauchlan reviews at Cannes 2019.
While watching FREEDOM FIELDS it’s clear that Arebi had plenty of material to include in her film, so the final product is overflowing with possibilities. Serena Scateni reviews.
THE CLIMB is an American comedy screened as part of the Un Certain Regard selection of the 72nd Cannes Film Festival – Tina Kendall reviews.
VIF-ARGENT is about the connection of two lost souls, and despite the inevitability that they will be together, their acceptance of each other in a relationship is built on a past love.