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.
May 2019 marks 80 years since the opening of Glasgow Film Theatre (GFT). Chris Dobson looks at what makes GFT both unique and a trendsetter in the Scottish cinema landscape.
Sebastián Silva’s latest, TYREL, is one of the cringe-comedies based on dissecting white and black relationships through the turbulent Trump election era. Silva has explained multiple times that he shot TYREL before fan favourite GET OUT hit the theatres; TYREL was shot over the Trump presidency inauguration weekend. This timestamp is pivotal in the film’s … Continue reading Tyrel
METAL HEART is rather enjoyable in its sentiments, surprisingly funny and provides a fresh take on the sub-genre. Elle Haywood reviews from Glasgow Film Festival.
This film has, perhaps inevitably, given the infamy of the black metal band it portrays, garnered a glut of criticism since its release. Die-hard metal-heads, members of the original Nordic Death-metal scene, anti-self-harm advocates and pearl clutching religious types alike have all come forward to criticise and condemn Jonas Åkerlund’s portrayal of one of the … Continue reading Lords of Chaos
