Grey Matters: Black and White Re-releases
As PARASITE returns to cinemas in black and white, Simon Bowie looks at the growing trend and some of the motivations for presenting different entertainment forms without the full colour spectrum.
Category Archives: Features
Revisiting The Watermelon Woman and Cheryl Dunye’s stamp on New Queer Cinema
Cheryl Dunye turned 54 in May, and in further celebration it’s time to reflect on her status as a pioneer and a revolutionary figure in progressive cinema for the most marginalised, writes Steph Brown.
Focus On: It’s Always Fair Weather
IT’S ALWAYS FAIR WEATHER, the last of the Stanley Donen-Gene Kelly collaborations, has the temerity to admit something we all know to be true: namely, that life can be a bit shit.
Daniel Isn’t Real
DANIEL ISN’T REAL is the story of a college freshman whose imaginary childhood friend makes a comeback – it’s an accessible and attractive story, but the film’s true strength lies in the subjective experience it offers. Rosy Hunt reviews.
Thoughtful Violence in Drive & You Were Never Really Here
Thoughtful violence is created in both DRIVE and YOU WERE NEVER REALLY HERE through each director’s meticulous attention to detail through music, visual symbolism and tight editing. Nancy Epton on the approach of Lynne Ramsay and Nicolas Winding Refn.
Shadow
The wuxia pian, the Chinese martial arts film, seems just as vital today as it did in the days of King Hu. Zhang Yimou’s SHADOW shares a good deal in common with HERO, if not quite assuming a role as its equal. Marc Nelson reviews.
Joker: a Batmobile with the engine of a clown car
Despite many technical highs in JOKER, the lack of nuance and a determination to be iconically shocking mean Todd Phillips’s film is a Batmobile with the engine of a clown car. Jim Ross reviews.
Une Femme Douce
UNE FEMME DOUCE (1969) features one of Robert Bresson’s sharpest, bluntest images on the degradation of the spiritual. Marc Nelson reviews.
A Deeper Understanding: In the Mood for Love and ‘Yumeji’s Theme’
Wong Kar-Wai’s IN THE MOOD FOR LOVE lingers with the viewer after they have seen it. For some that could be because of the melancholic story, for many it is most likely because of the beautiful cinematography, or it could be a song that features throughout the film and seeps into your skin.
New Eyes on Apocalypse Now
APOCALYPSE NOW deserves its cult status. But it is a film where the journey is more interesting than the destination, writes Alice