SUPERNOVA is Harry Macqueen’s sophomore feature, starring Stanley Tucci and Colin Firth. The film tells the story of Sam and Tusker, a couple of twenty years who face the looming shadow of Tusker’s early-onset dementia as the pair focus on the importance of the time they have left together. Elle Haywood speaks to Macqueen about … Continue reading Harry Macqueen Interview
WOLFWALKERS, the latest film from Cartoon Saloon, is a stunningly animated family film deeply embedded in a sense of Irish history and Irish identity.
A film for dreamers who believe everything will fall into place, and who have heard their hearts broken because falling into place at the right time takes more than dreaming. Scott Wilson reviews.
SPIDER’s message is not just that history is important to understand our present, but that history is here with us now, living on and sometimes festering, in ugly and disconcerting ways. Matt Hall reviews.
UNDINE challenges the preconceptions of modern fairy tales, as Christian Petzold’s body of work becomes more daring and bold every film.
That the story behind THE CHESS GAME OF THE WIND’s premiering, banning, rediscovery, and eventual restoration isn’t more extraordinary than the film itself should emphasise the exceptional nature of director Mohammad Reza Aslani’s achievement.
TAKE ONE is deep into coverage of the 2020 London Film Festival, with reviews from the main strands, shorts selections, and interviews from the talented bunch of directors and producers in attendance. We’re a big fan of short films over on our site, and our Associate Editor Elle Haywood has been joined by director Tommy … Continue reading Tommy Gillard Interview
“I’m not playing midfielder for a football team. I can do this ’til the day I die. Just don’t feel like dying tomorrow, y’know.”
After reviewing MOGUL MOWGLI as part of our London Film Festival coverage, Jim Ross spoke to director Bassam Tariq about the themes of the film and the festival circuit in the coronavirus-hit year of 2020.
By comparison with Chaitanya Tamhane’s debut, COURT, the direction in THE DISCIPLE is more insistent and the style less static, which are both to the film’s benefit, and, at times, not.
