Vortex
Simon Bowie reviews Gaspar Noé’s VORTEX, a relentlessly heartbreaking but thoroughly entrancing experiment of a film.
Simon Bowie reviews Gaspar Noé’s VORTEX, a relentlessly heartbreaking but thoroughly entrancing experiment of a film.
Simon Bowie reviews THE GRAVEDIGGER’S WIFE, a well told story that brings to life a profound portrait of life in Djibouti.
Simon Bowie reviews Ruth Paxton’s A BANQUET, a stylish women-led horror film tackling fears around disordered eating.
ASHGROVE boldly takes on heady questions and deftly intertwines the personal with the global in an intensely relatable way for anyone living through the ongoing global pandemic and slow destruction of Earth through climate change.
With captivating central performances from two talented young actors and a crisp autumnal palate, PETITE MAMAN develops a deep emotional resonance that stays with you much longer than its 72-minute runtime.
THE SOUVENIR: PART II continues Joanna Hogg’s semi-autobiographical journey of a young woman at film school in England. This new entry develops on the first film’s themes to capture the essence of both artistic escape and being young in an England of repressed emotions.
BEYOND THE INFINITE TWO MINUTES takes a clever sci-fi concept and fully explores its limits to the edge of complexity while never losing sight of the people at the heart of this time anomaly.
WOODLANDS DARK AND DAYS BEWITCHED might not find an audience outside those already obsessed with folk horror, but it’s a real treat for those who are and, through Janisse’s strong arguments and exhaustive research, is an essential text in debates about the definition of this weird subgenre.
DEAR HACKER is a short documentary that brings together IT, philosophy, and occult esoterica to discuss the ubiquitous webcams that we point ourselves towards.
ALIEN ON STAGE revels in these images contrasting Ridley Scott’s groundbreaking sci-fi horror film with the everyday nature of suburban British amateur dramatics.