April McIntyre reviews THE NOVICE: the evocative cinematography and Isabelle Fuhrman’s masterful capture of the character makes Hadaway’s sensory and visceral debut a success, even if at times it’s challenging to watch.
April McIntyre reviews CAMILA COMES OUT TONIGHT: through Camila’s eyes we discover the ways in which queerness can cross boundaries, and how a new generation are standing up for their rights and working to squash misogyny and outdated traditionalism.
April McIntyre reviews the Family Affairs short films programme at BFI Flare. Whether it’s creating a new family, reconnecting with estranged relatives or joining families together, this programme sees the many forms in which families can take and the ways in which they evolve throughout our lives.
Premiering in Europe at the Glasgow Film Festival, HOMMAGE (오마주) is a surprising and heartfelt cinematic mystery about women filmmakers, the collaborative process of filmmaking, and the ghosts of those that came before. It’s got some incredibly striking imagery and is a hidden gem of this year’s GFF. Ji-wan (Lee Jeung-eun) is a director of … Continue reading Hommage
In Arsalan Amiri’s ZALAVA (زالاوا), demons are loose in a small village in pre-revolution Iran and mob mentality grips the village’s people. ZALAVA is a confident, creepy, and at times hilarious Middle Eastern horror film with an impressive cast, striking camera work, and gestures towards wider political discussions. Set before the Iranian Revolution, Zalava is … Continue reading Zalava
Simon Bowie reviews Erin Vassilopoulos’ SUPERIOR and argues that it fails to live to up its many David Lynch references and genre pastiches.
Simon Bowie reviews Cécile Ducrocq’s HER WAY, a film with a strong Laure Calamy performance and a refreshingly positive attitude to sex work.
Simon Bowie reviews Claire Denis’ new film, FIRE (also known as BOTH SIDES OF THE BLADE), an intense love triangle drama that skirts the border of melodrama.
Simon Bowie reviews Terence Davies’ BENEDICTION, a biopic of poet Siegfried Sassoon that wrestles gamely with the idea of how to depict the effervescence of poetry on film.
Simon Bowie reviews Gaspar Noé’s VORTEX, a relentlessly heartbreaking but thoroughly entrancing experiment of a film.