Audacious in the extreme, THE BEAST delivers nothing new on each of its premises, but its combination is bold and stylish. The film does not rise above its shock value in commenting on society, but Seydoux and Mackay are in magnificent form.
Its odd tempo and mythic resonances make LA CHIMERA feel like a half-remembered story that you first heard years ago. The film’s surprising richness will bury itself in your mind in a way that finds you stumbling across it afterwards.
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.
A frog-in-a-kettle study of a societal microcosm under pressure, THE TEACHER’S LOUNGE leaves audiences turning over possible truths and futures for its characters long after the credits roll.
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.
When ELAHA channels anger into something pensive, the film’s power is amplified, evolving from didactic frustration to something evocative and immensely powerful.
While THE VOURDALAK may not entirely succeed as a film, there is something fascinating about how this early vampire story emphasises the queerness that has always been part and parcel of vampire stories in folklore.
Traumatic events warp the timeline of a life: their emotional gravity pulls every other event in a life back towards them like a black hole. THE BURNING SEASON uses a non-linear structure and a focus on small character details to tell the story of a traumatic event that dominates the lives of two people and … Continue reading The Burning Season
TUMMY MONSTER, Ciaran Lyons’ directorial debut feature, is UNCUT GEMS by way of Glasgow, using its sense of confinement to build to a peak of anxiety and tense release that will stick with you long after the end.
Despite its title and the in-your-face delivery of some of its most fevered sections, DO NOT EXPECT TOO MUCH FROM THE END OF THE WORLD is not all apathy and ironic resignation. There may not be hope, as such, at its heart, but there is an unending belief in human ingenuity and creativity.
