La Chimera
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.
Category Archives: Festival Coverage
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.
The Teacher’s Lounge
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
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.
Elaha
When ELAHA channels anger into something pensive, the film’s power is amplified, evolving from didactic frustration to something evocative and immensely powerful.
The Vourdalak
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.
The Burning Season
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
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.
Do Not Expect Too Much from the End of the World
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.
Disco Boy
Carmen Paddock’s review of Disco Boy directed by Giacomo Abbruzzese: “While there might not be especially new ground covered in a narrative capturing the fragmenting psyches of the colonisers and the colonised […] DISCO BOY is a stunning new entry into the canon.”