Evoking such introspective ensemble pieces as Woody Allen’s theatre-influenced September and, to some extent, the Danish family cacophony that was Festen, Jon Sanders’ latest film focuses on the intricate relationships and emotions shared amongst a group of people over the space of twenty-four hours.
Carlos Iglesias’ film explores the phenomena of ‘war children’, the many thousands of refugees evacuated from Spain in 1937 to countries such as the USSR, where the film unfolds.
INTIMATE GRAMMAR is a wonderful portrait of adolescence in extremis; of how a sensitive soul is stifled in an increasingly virile world.
Max Zeh looks at the story of the raising communistic extremism of Gudrun Enssslin (Lena Lauzemis), long before she founded the RAF (Rote Armee Fraktion) together with Andread Baader (Alexander Fehling).
“Henry Morris” is a documentary made by young filmmakers from Sawston about the eponymous father of the Cambridgeshire village college movement in the 1930s.
The third film in Sono’s genre-bending ‘Hate Trilogy’ (after 2009’s LOVE EXPOSURE and 2010’s COLD FISH), GUILTY OF ROMANCE is equal parts gruesome police procedural, eccentric black comedy and erotically charged melodrama with flashes of psychological horror and frequent episodes of soft porn.
John Cunningham looks at Woody Allen’s latest foray into European culture.
Franklin P Laviola looks at Robert Flaherty’s NANOOK OF THE NORTH, considered by most film historians to be the medium’s first ever feature-length documentary.
Ruiz crafts a twisting tale of romance, honour and deceit in 272 minutes that contains so much melodrama it feels more related to opera than film.
In Carina Molier’s utterly enchanting documentary, we follow part of a very disjointed and unsettling journey – that of OG, a young woman from Zimbabwe, and the eponymous long-distance friend of the director.