Pablo Berger’s silent transposal of the classic tale of Snow White onto 1920s Spain emerges as a critique of Spanish machista society, writes Jessica Donnithorne at the San Sebastian Film Festival.
LIBERAL ARTS is a gentle mix of romance, drama and comedy resistant to the formulaic mess it could so easily have collapsed into, writes Jim Ross at the Cambridge Film Festival.
LOOPER is an intelligent neo-noir science fiction, with some striking images and more emotional resonance than the likes of INCEPTION. Jim Ross reviews the CFF2012 Surprise Film.
Jim Ross reviews the short films playing in the strand TO CELEBRATE – CALLUM, THE WAY THE LAMP SWINGS, BLACK DUST, DYLAN’S ROOM, DAYS OF AWE and LINE 102.
Anthony Davis reviews this showcase of Bruce Lacey’s work, curated and introduced by William Fowler. An interview with William Fowler will follow soon.
The gripping psychological thriller MARNIE is most likely one of Hitchcock’s lesser appreciated films, as it misses most of the visual horror and obvious suspense of THE BIRDS or VERTIGO. Maria Sell reviews.
Arranged and funded by The Doors, and shot on just five cameras, THE DOORS: LIVE AT THE BOWL ’68 is the only full live recording of the concert. Liam Jack reviews the CFF screening.
A quietly dramatic series of chamber vignettes, the measured rhythm of BARCELONA (UN MAPA) will gradually draw you in, writes Jim Ross
Hitchcock’s other great horror masterpiece, THE BIRDS remains an extraordinarily effective exercise in apocalyptic terror, writes Gavin Midgley.
This slice of film geek nirvana charts the attempts to restore a colour version of Georges Méliès’ A TRIP TO THE MOON, one of the greatest and most influential films from the silent era.