PINOCCHIO very much stands apart from previous adaptations, and most definitely from versions of the story familiar to English-language audiences. Jim Ross reviews.
BABYTEETH is curious and endearing, despite its harrowing storyline. Elle Haywood reviews.
It is very difficult to not acknowledge one’s own mortality or entertain notions of your own death after this impressively understated feature that wallows and lingers in its own detached chilly dread, like an unwelcome thought creeping into your head at four in the morning. Matt Hall reviews.
The opening scene of Egor Abramenko’s SPUTNIK is as promising an opening as any film. Ben Woodard reviews.
The Dardenne brothers’ YOUNG AHMED explores the mechanisms and influences that lead to religious radicalisation, through the portrait of a young schoolboy groomed by extremist ideologies. Steph Brown reviews.
Chinonye Chukwu’s CLEMENCY is engaging and thoughtfully constructed, with a stifling atmosphere underscored by Alfre Woodard’s lead performance.
Claire Oakley’s debut feature has the power to evoke a longing to relive the cusp of adulthood, even with the growing pains we try to forget. Steph Brown reviews.
As PARASITE returns to cinemas in black and white, Simon Bowie looks at the growing trend and some of the motivations for presenting different entertainment forms without the full colour spectrum.
It is hard to summarise A WHITE, WHITE DAY, with director-writer Palmason having created a feature that feels cathartic in regards to its depiction of loss, but also edges on the border of horror and anger. Elle Haywood reviews.
The Maxi Trial, which took place between 1986 and 1992 and saw the prosecution of nearly 350 members of the Cosa Nostra, remains an abiding fascination in contemporary Italian history – and, naturally enough, in Italian cinema too.