The Man Whose Mind Exploded
Hannah Clarkson reviews this touching portrait of Drako Zarhazar, THE MAN WHOSE MIND EXPLODED.
All posts by Hannah Clarkson
The Machine Which Makes Everything Disappear
Hannah Clarkson recounts the stories of the young dreamers in Tinatin Gurchiani’s quietly astonishing THE MACHINE WHICH MAKES EVERYTHING DISAPPEAR.
The Sea
Hannah Clarkson reviews Stephen Brown’s intense adaptation of John Banville novel THE SEA.
The House with a Turret
Hannah Clarkson sees the best and worst of human nature in THE HOUSE WITH A TURRET.
Morente
There is a joyful rhythm to this documentary on flamenco singer Enrique Morente despite its self-congratulatory tone, writes Hannah Clarkson.
Stalker
In STALKER Tarkovsky takes the notion of the journey and examines it, stretches it, makes it at once real and ethereal; reduced to its abstract components of space and time.
Renoir
It occasionally slides into contrived whimsy but this biopic offers plenty of pretty escapism, writes Hannah Clarkson.
Post Tenebras Lux
A few ill-advised moments aside, Carlos Reygadas’ eccentric POST TENEBRAS LUX succeeds in being in turn whimsical, frightening and moral, writes Hannah Clarkson.
To The Wonder
Malick’s TO THE WONDER is a visual, emotional and lyrical tour-de-force, writes Hannah Clarkson.
Midnight's Children
Deepa Mehta’s MIDNIGHT’S CHILDREN is touching and hypnotic, but his attempt to combine the serious and the whimsical does not do justice to Rushdie’s novel, feels Hannah Clarkson.