Radical
The unashamedly heartfelt actions of a radical educator deserve an equally heartfelt film, and RADICAL is top of the class.
All posts by Scott Wilson
Hundreds of Beavers
The effect isn’t unlike nostalgia, a longing for when humour appealed to our childish side, uncomplicated and universal; it is the easiest way to plaster a smile across your face for 100 minutes. You are unlikely to find a funnier or more inventive film this year.
Falling Into Place
FALLING INTO PLACE echoes Sally Rooney’s Normal People: it follows two young lovers who come in and out of each other’s lives while trying to come to terms with the heartbreaking hands they have been dealt.
Love Lies Bleeding
In Rose Glass’s new feature, LOVE LIES BLEEDING, bodies are vessels that can barely contain what they feel inside. Something is always trying to burst out. Put simply, LOVE LIES BLEEDING rips.
Yannick
YANNICK playfully imagines a complete breakdown of the relationship between artist and paying punter. It offers no solutions and barely contains an ending, but maybe in all of its madness, there is a quiet plea for any critical displeasure to be saved for our social media feeds.
The Holdovers
THE HOLDOVERS is cosy because it is bittersweet, and in the same way, it is a comedy because it is sad. David Hemingson’s script, which draws from his own life, understands the close proximity of these seemingly conflicting emotions.
Poor Things
Leave it to Yorgos Lanthimos, the Greek purveyor of oddities, to attempt the supposedly unadaptable POOR THINGS, Alasdair Gray’s 1992 novel of conflicting points of view, paratextual playfulness, and his trademark commentary on Glaswegian goings-on. The film follows Emma Stone’s Bella Baxter, a woman reanimated after her death with the brain of an unborn baby, … Continue reading Poor Things
Plan 75
Maturity and an optimistic offer of a more humane solution prevent PLAN 75 from being unbearably bleak. By showing something so terrible, the film is really showing what it so dearly values.
The Artifice Girl
Intelligent filmmaking with soul ought to be treasured when it comes along, and THE ARTIFICE GIRL is just that. What could be inaccessible due to its scientific subject matter or off-putting over the fervour AI discourse provokes is anything but.
Saint Omer
It takes a deft hand to communicate empathy in the story of a mother who has killed her 15-month-old baby, but director Alice Diop handles this courtroom drama with grace, even if the genre tag feels reductive here.