REBUILDING is a compassionate look at a community rocked by disaster with a wonderfully judged performance by O’Connor, though unfortunately it goes no deeper. Considering these natural events will become more and more common, and stronger, as the climate crisis intensifies, the film occupies a strange place between call to action and resignation to fate.
Marc Silver’s documentary MOLLY VS THE MACHINES takes an incredibly heavy and emotive subject and, while paying tribute to the human tragedy that inspired it, examines the social, legal, and material conditions that engendered it. The result does not wallow in exploitation or suggest hard-and-fast ways forward, but instead exposes the safeguarding cracks and legal loopholes that have caused so much harm in online spaces.
THINK OF ENGLAND starts by evoking the idea of indecency with a wry grin, but what it ends up producing is something more reflective.
THE LAST VIKING entertainingly shifts between identities in a way that parallels its characters, but a surprisingly sensitive treatment of neurodiversity is marred by a bitter undercurrent of misogyny that leaves a bad taste.
There is more than enough wit and wisdom in the delivery of GOOD LUCK, HAVE FUN, DON’T DIE that it rarely fails to be entertaining, even if the film struggles to shape a unique viewpoint from its mélange of influences.
Emerald Fennell manages to achieve some new and striking things, but it’s an odd irony that in trying to be stirring and daring, WUTHERING HEIGHTS ends up rather blunted and safe.
Mark Jenkin’s unique filming style lends texture and physicality to ROSE OF NEVADA, a blend of British social realism and ghost story, even while the dream-like nature of it means that it fades like a dream upon ending.
Felipe Bustos Sierra’s latest documentary is a fitting one to open Glasgow Film Festival 2026 as a thoughtful exploration of Glasgow’s political history and how a community can come together to make a political difference.
To have such a feminist epic, directed by a woman, with a unique vision and power, should serve as a cinematic testament, not a solitary miracle.
28 YEARS LATER: THE BONE TEMPLE is an oddly hopeful film, which brings the messy themes of its predecessor together into a compelling whole based in compassion and the notion that even suffering will return to dust.
