The new wave of female-directed horror films has gushed in this year with fury, and ROSE: A LOVE STORY, is no exception to this. Jennifer Sheridan’s debut feature is visually striking and deeply moving; a slow burn consisting of a sinister atmosphere, familiar horror tropes, and the true test of a marriage in the face … Continue reading Rose: A Love Story
WOLFWALKERS, the latest film from Cartoon Saloon, is a stunningly animated family film deeply embedded in a sense of Irish history and Irish identity.
A film for dreamers who believe everything will fall into place, and who have heard their hearts broken because falling into place at the right time takes more than dreaming. Scott Wilson reviews.
SPIDER’s message is not just that history is important to understand our present, but that history is here with us now, living on and sometimes festering, in ugly and disconcerting ways. Matt Hall reviews.
UNDINE challenges the preconceptions of modern fairy tales, as Christian Petzold’s body of work becomes more daring and bold every film.
That the story behind THE CHESS GAME OF THE WIND’s premiering, banning, rediscovery, and eventual restoration isn’t more extraordinary than the film itself should emphasise the exceptional nature of director Mohammad Reza Aslani’s achievement.
DICK JOHNSON IS DEAD uses its juxtapositions to create a bright and vibrant depiction of coming to terms with death that takes grieving outside the confines of the hospital or the hospice.
SAINT MAUD is an outstanding example of a sinister horror that is equal parts tactile and terrifying.
By comparison with Chaitanya Tamhane’s debut, COURT, the direction in THE DISCIPLE is more insistent and the style less static, which are both to the film’s benefit, and, at times, not.
Not all art is comprehensible, and Ferrara seems to be content with leaving some audience members out in the cold, puzzling over their Jungian-laden experience of a film.
