SINCE YESTERDAY joyously celebrates the work of groups that, by all rights, should be better known today, and paints a vibrant picture of their artistry but also a damning picture of sexism, classism, and London-centrism that still plagues the UK’s arts scene today.
A picturesque chronicle of a young man’s life and the long shadow cast from whence he came, SUJO represents another assured piece of work from the creators of IDENTIFYING FEATURES.
STRANGER EYES is a film that is both deeply cynical and resoundingly humane in portraying the hyper-surveilled Singapore. Everyone is under scrutiny, but their humanity remains beyond the camera’s gaze.
WOKEN is a sci-fi thriller that packs a punch disproportionate to its small scale and short length. Despite some unfortunately clumsy tropes deployed in the third act, WOKEN still has enough twists and turns and enough contemporary relevance to be a thriller worth checking out.
Mira Shaib’s feature film debut, ARZE, chronicles the story of Lebanese mother Arzé (Diamand Abou Abboud) as she searches for a stolen motorcycle on the streets of sectarian Beirut.
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.
