With its scope, restraint of style, and honesty of content, OCCUPIED CITY is a tremendous achievement in documentary storytelling. Letting the audience form their own connections with past, present, and probable future events avoids pitfalls of over-interpretation.
Even if THE ZONE OF INTEREST does not add nuance or a new perspective to the conversation, its unflinching contrast of the everyday and unspeakable – and, in the final minutes, how we rationalise both in historical memory – lingers long in the mind.
Scepticism can be left at the door; with its spark, originality, and excellent performances, MEAN GIRLS (2024) is heartily enjoyable on its own merits.
TCHAIKOVSKY’S WIFE becomes stranger and richer on reflection, and with other quasi-historical biopics having recently made waves, it feels well-timed to enter the canon and reexamine a doomed relationship.
Aki Kaurismäki’s first film since 2017 continues with his trademark mix of deadpan humour and social realism in a clear-eyed take on class politics, mobility, and never succumbing to hopelessness.
IS THERE ANYBODY OUT THERE? is a cry for solidarity outside the bounds of what society considers normal. Filmmaker Ella Glendining is as exacting and rigorous with her assumptions as she is in challenging others, encouraging an empathetic reflection as the film’s ending scenes roll.
The events of LIE WITH ME would seem trivial to anyone other than the two concerned parties, and it is the everyday details and bucolic setting that allow character moments to organically emerge.
GREAT YARMOUTH rushes comeuppance slightly too neatly and swiftly. However, director Marco Martins’ Norfolk retains some of the county’s folk horror sensibilities; the forced propulsion does not preclude its haunting staying power once credits roll.
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