Mademoiselle Chambon
Naomi Barnwell reviews Stéphane Brizé’s absorbingly moving film.
Category Archives: Reviews
Short Fusion: Love Lost And Found
Jamie Brittain reviews two films from the LOVE LOST AND FOUND series at CFF2011.
Forest Screening: Robin Hood
Hugh Paterson attended the screening of Allan Dwan’s ROBIN HOOD in Rendlesham Forest.
Dirt
Daniel Fawcett’s DIRT is a heartfelt look at a young person’s difficulty fitting in with the adult world and a wish to recapture that childhood feeling of being ‘free’. Jim Ross reviews.
You, The Living
Jim Ross embraces the traight-faced, deadpan humour of Roy Andersson’s YOU, THE LIVING
Songs from the Second Floor
Rosy Hunt reviews Roy Andersson’s SONGS FROM THE SECOND FLOOR: an absurdist, artistic treatment of Purgatory which deserves the Jury Prize it won at Cannes.
Losing Balance (Draußen am See)
Known to us as LOSING BALANCE, Felix Fuchssteiner’s DRAUßEN AM SEE translates literally as “out on the lake”. Although the story focusses on Jessika (portrayed by young newcomer and Scarlett Johanssen lookalike Elisa Schlott), her mother and father (Petra Kleinert and Michael Lott) are the heart and soul of the film.
The Third Man
There were no empty seats at the showing of THE THIRD MAN, the highlight of The Spying Game programme. The film is more freckled than it once was, and glitching slightly, but still retains its original guile and vigour.
South
Polar exploration is a costly business, and it was as much for fiscal reasons as for posterity that Shackleton hired photographer Frank Hurley to accompany him on his trans-antarctic adventure. Hurley was in later years criticised for manipulating his images for dramatic effect, but the grandeur of the Antarctic could never, and need never, be augmented by human imagination.
The Abandoned
From the psychedelic pulp publications of the 70s to Devil’s Backbone, Spanish horror is an inimitable combination of passion, style and restraint. Even a lapse into self-parody such as Accion Mutante is worth watching, but this self referential irony is precisely what Nacho Cerdà strives to avoid with his feature film debut THE ABANDONED.