Like the plant of the title infects those around it, LITTLE JOE gradually infects you with its languid cinematography, a terrifically subtle central performance, and a wonderfully puzzling sense of ambiguity. Simon Bowie reviews from BFI London Film Festival.
With the fall of the Soviet Union in 1991, the world’s eyes turned to Cuba, waiting to see if the government could survive after the fall of its greatest ally. While we have the benefit of hindsight, WASP NETWORK examines this period of uncertainty, where agents for and against Fidel Castro battle for the future … Continue reading Wasp Network
Everywhere you look in the film there is quality – acting, writing, directing, cinematography and on and on – there is no weak link here. Gabriel Farrell reviews CALM WITH HORSES at BFI London Film Festival.
BLACKBIRD emphasises the distance between those suffering a terminal illness, both physically and emotionally, from those who are not. James Ashworth reviews at BFI LFF.
By setting itself in the near future, BACURAU allows itself to explore a world that is something of a dark reflection of our own, and revels in this juxtaposition. James Ashworth reviews.
MONOS invites us to see ecstatic truth against brutal unreality in a film that uses cinema to its fullest potential. Simon Bowie reviews at BFI LFF.
Elle Haywood reviews LARA, “a stand-out piece from this year’s London Film Festival”.
Short but sweet, and laden with symbolism, Shahad Ameen’s directorial debut has more than enough power to capture the imagination.
Tanja Schangin reviews AMERICAN WOMAN, director Jake Scott’s new film, which comes out on Friday 11 October.
Despite many technical highs in JOKER, the lack of nuance and a determination to be iconically shocking mean Todd Phillips’s film is a Batmobile with the engine of a clown car. Jim Ross reviews.
