Grand Theft Hamlet
GRAND THEFT HAMLET is a relic of a strange time made with love, ingenuity, and originality, a testament to the enduring, almost addictive appeal of live theatre and human connection no matter what obstacles arise.
GRAND THEFT HAMLET is a relic of a strange time made with love, ingenuity, and originality, a testament to the enduring, almost addictive appeal of live theatre and human connection no matter what obstacles arise.
ON BECOMING A GUINEA FOWL – Rungano Nyoni’s second feature film – is a skilfully constructed balance of tone and expectations. The film finds reason in oddities, truths in ambiguities, and joy despite trauma, all underscored by a superb performance from Susan Chardy.
Despite a messy and unfocused narrative trajectory, the depth of absurdity Guy Maddin (and co-directors Evan Johnson and Galen Johnson) offers in RUMOURS skewers the modern geopolitical scene better than most.
Andrea Arnold’s latest film, BIRD, is a beguiling blend of British social realism and magical realism, exposing the deep yearning towards nature in a dying England left adrift at the end of the world.
EMILIA PÉREZ is heavily inspired by the shocking twists and family secrets of telenovelas. Unfortunately, the film is aurally and visually ugly, and the way in which it uses Mexican drug violence and cartels as scenery without engaging with the social reality leaves a bad taste.
THE ASSESSMENT has enough interesting ideas to bolster the excellent central performances and basic premise. It never quite rises to meet its loftier concerns, but intelligent writing and captivating performances result in something well above a passing grade.
SANTOSH is a patient film, that illustrates how a dysfunctional environment can pervert the meagre empowerment it offers marginalised people.
Seasoned found-footage director Graham Hughes puts in the effort with a meagre budget, but a bit of inspired cinematography isn’t enough to detract from unconvincing acting and wooden dialogue.
Over the past decade, there has been an inescapable feeling that the world is on fire. Not just in a literal sense, regarding climate change, but also the sense that society and the social contract are burning down around us. Opposition has become polarisation that has not just merely moved the Overton window but smashed … Continue reading 2073
The sociopathic protagonist at the core of RED ROOMS builds alienation with a probing camera that constantly looks but never fully reveals the mysteries in its gaze.