CROSSING POINTS explores the memory of space and its atmosphere, according to Hannah Clarkson.
THE VIEW FROM OUR HOUSE is as much about what is unseen, as what is depicted, according to Hannah Clarkson.
‘They say you can learn more from a game you lose than a game you win. That’s how I got here’. Hannah Clarkson reviews FOUR CORNERS.
Emmanuelle Devos’ performance is at the heart of VIOLETTE, according to Hannah Clarkson.
Part thriller, part surreal dreamscape, SEA CHILD explores ideas of narrative and memory; of the elements and of time, and most of all, of innocence and imagination.
IN A MIRROR slides artfully in and out of opaque and insightful, muses Hannah Clarkson.
With unique access to the recordings of Ted Hughes reading what he considered his masterpiece, this film tells the story of CROW – a dark reworking of the Genesis story.
We spoke to Kris Swanberg about her short BABY MARY, in which a little girl in Chicago takes a neglected toddler under her wing.
Jimmy’s Hall is more than its four walls, it is the promise of education, of family, of fun… Hannah Clarkson reviews Loach’s latest.
Dark, witty and utterly inspired, Švankmajer’s FAUST is a work of maniacal genius, writes Hannah Clarkson.