Marty Supreme
By the time MARTY SUPREME finishes batting balls at you and falls to the floor in exhaustion, the chaos left in its path is at once maddening and impressive.
By the time MARTY SUPREME finishes batting balls at you and falls to the floor in exhaustion, the chaos left in its path is at once maddening and impressive.
ULTRAS highlights how football is not an escape from society, or even a reflection of it – it is a key thread running through the tapestry of communities across the globe.
KENNY DALGLISH provides an extended example not only of how sport, politics, and social justice can intersect, but also of why they should, whilst being mindful of the cost to those who feel they must.
ONE WOMAN ONE BRA is a stealthily devastating film, where many strands come together to have a heartbreaking impact and show the effect of a community abandoning its most vulnerable members.
Director Cyril Aris’s A SAD AND BEAUTIFUL WORLD tells a story that can and has collapsed into a maudlin heap many times on film. However, the gentle chemistry of the romantic leads, the dexterity with which the film handles the passage of time, and the sincerity of relatable themes refracted through a Lebanese prism make the film an affecting and engaging romantic drama.
DIE MY LOVE is unlikely to be considered the pinnacle of Ramsay’s career. Still, even when revisiting themes, the intense clarity of vision ensures Ramsay’s work continues to feel fresh and ominously vibrant.
ANEMONE is fortunate in being able to call upon Daniel Day-Lewis’s first film performance in eight years. Although Ronan Day-Lewis manages to garner a performance of simmering intensity from his father, their co-written script is flat and opaque to the point of tedium.
If Shelley’s novel can be considered the dense and sprawling sheet music for an orchestral symphony of ideas, then Del Toro’s arrangement here is sparser. However, even if the result lacks some of the richness laid out on the page, the tune of FRANKENSTEIN extracts tension, horror and beauty that harmonises with the full version.
BALLAD OF A SMALL PLAYER rarely fails to be entertaining, with the visuals and performances taking the film a long way. However, they are fleeting thrills in the service of an unmemorable story. Edward Berger’s film looks like a high roller, but it’s playing with buttons and matchsticks.
Overall, the ARE YOU KIDDING? strand of short films at London Film Festival 2025 has (for the most part) a commanding understanding of tone, pitching the collection into a tradition of morbid, dark and absurd humour.