In Théo Court’s haunting BLANCO EN BLANCO he interrogates the images we create of nations and ourselves through photography, while drawing our attention to the ghostly traces of dark history that mar these images. Katie Duggan reviews.
SUPERNOVA paints the analogy of Nietzsche’s butterfly with a stark social realism which ruptures and challenges the idea of a cosmos through a microcosm of chaos, contingency and causation. Steph Brown reviews.
The ‘gore cut’ of the film – screening at Glasgow Film Festival – cements TAMMY AND THE T-REX’s status as unapologetically campy nonsense best seen in a cinema with other people. Simon Bowie reviews.
Like a half-remembered video game that you played as a kid that now you come to describe to someone as an adult, JESUS SHOWS YOU THE WAY TO THE HIGHWAY sounds utterly improbable but is never boring. Simon Bowie reviews.
An absurdist take on a day-in-the-life, Mira Fornay’s drama COOK F**K KILL produces some complex narrative strands and attempts to deliver a deep take-home message. COOK F**K KILL explores the relationship dynamics within a dysfunctional family, with particular emphasis on masculinity, domestic violence and questions of identity. While captivating and innovative in the most part, … Continue reading Cook F**K Kill
TRUE HISTORY OF THE KELLY GANG has some striking imagery and engaging performances but seems to lack coherent storytelling to drive home their impact. Jim Ross reviews.
Riding on the cheers from its success at Sundance, FIRST COW floats its way into the competition at the 70th Berlinale with a charming story about the entrepreneurial adventures of two friends and a cow. Elle Haywood reviews.
Despite the real-life resolution to the case, DARK WATERS is not a triumphalist film and goes to great lengths to show its story is merely a battle in an overwhelming war. Jim Ross reviews.
BLOOD ON HER NAME deserves to be mentioned in the same breath as Jeremy Saulnier’s BLUE RUIN and indeed Jordan Peele’s GET OUT as a bloody melodrama made by a new director expertly flexing his movie muscles. Andrew Nickolds reviews.
A visually stunning first feature from director Fernanda Valadez, SIN SEÑAS PARTICULARES is a beautifully shot story of a maternal odyssey of loss. Jim Ross reviews the 2020 Sundance selection.
