FREMONT rarely puts a foot wrong, even if the walking speed is meandering to the point of dallying.
The character of Tomas, whose emotional and sexual openness reflects commitment to art and new experiences, embodies Ira Sachs’s PASSAGES – uncomfortable and challenging but exhilarating and captivating.
There are no more significant potential ramifications than the end of the world, and that awful looming mushroom cloud haunts every frame of OPPENHEIMER’s tense and emotionally violent portrait.
As frustratingly stilted as MASTER GARDENER can be, Paul Schrader has still planted the seeds of something curiously mesmerising to watch grow.
UNCLENCHING THE FISTS explores the struggles of a young woman named Ada, and is a powerful portrayal of the impact of patriarchal structures – societal and familial – on the women within.
Reports of cinema’s death are greatly exaggerated, but the attack on the ‘big screen experience’ is coming from inside the building. As the focus on films continues to dwindle, and more and more desperate attempts are made to augment a diminished core experience, cinemagoing increasingly resembles an embodiment of a famous Groucho Marx quote: “I intend to live forever, or die trying.”
Adura Onashile’s GIRL is a gentle and sometimes hypnotic view of a life laced with the after-effects of trauma. The film is an elegantly slow-burning drama, and its willingness to let the visuals and understated performances establish an atmosphere allows the audience to feel Grace and Ama’s emotions all the more keenly.
INFINITY POOL is a compelling film that effectively garners visceral and spontaneous reactions to thoughtfully constructed grotesqueries. However, the scant implementation of the ideas driving the characters’ behaviour leaves it like that hotel leisure showpiece; the lack of boundaries is an intricately and considerately engineered illusion. A look beneath its glistening surface and the safe confinement becomes all too apparent.
Charlotte Wells’ feature debut showcases the assured hand she had already demonstrated in her short film work and enhances it further to balance tone and pace throughout a touching story of a daughter and her troubled father on holiday. Calum (Paul Mescal) takes his 11-year-old daughter Sophie (Frankie Corio) on a package holiday to Turkey, … Continue reading Aftersun
AFTER YANG is a film steeped in humanity despite its gently dystopian subject: an android sibling of an adopted child. Koganada’s feature includes many thought-provoking strands focused on family privacy, technological dependence, and what makes someone – or something – belong to a family unit. Still, its imagination and sincerity when dealing with memory and … Continue reading After Yang