Darling
Schlesinger’s nuanced, knowing DARLING – screened at Cambridge APH earlier this month – is a great example of British cinematic innovation, writes Sarah McIntosh.
All posts by Sarah McIntosh
Gatekeepers
The greatest triumph of GATEKEEPERS is the filmmaker’s ability to persuade the former heads of Israel’s Secret Service to speak so openly, writes Sarah McIntosh.
Interview with Gabi Norland
“At the moment only 5% of fiction directors are women, 4% of cinematographers are women and 2% sound recordists are women.” Cinematographer Gabi Norland explains why women filmmakers need our support.
Singing Out For Harold and Maude
Harold, who is too young to have lived much yet, finds no enjoyment or purpose in life. Maude, who has known unimaginable tragedy, embraces the state of being and finds great beauty in each given moment.
Takeover: Network
As Roger Ebert said, watched today this film reads like prophecy. NETWORK is the latest in our TAKEOVER series.
Madwomen: A Woman Under The Influence
Is Mabel truly mad, or just misunderstood? Sarah McIntosh looks back at the cunning Cassavetes classic A WOMAN UNDER THE INFLUENCE, as part of our MADWOMEN theme.
CAFF Closing Event: Nab'Ubomi Short Films
Nab’Ubomi meaning ‘This is Life’ is a South African youth project that goes into schools and helps teach secondary students about media production and development through a short film competition. The project has been running for five years and this programme in the Cambridge African Film Festival only represents a small amount of what has … Continue reading CAFF Closing Event: Nab'Ubomi Short Films
Aid & Abet: Dark Hours/Fixed Space
Sarah McIntosh looks at the “filmic equivalent of antipasti”, the “eclectic range of tastes, senses and sensibilities” offered by Aid & Abet as part of DARK HOURS/FIXED SPACE programme of one-minute shorts.