Stalker
In STALKER Tarkovsky takes the notion of the journey and examines it, stretches it, makes it at once real and ethereal; reduced to its abstract components of space and time.
In STALKER Tarkovsky takes the notion of the journey and examines it, stretches it, makes it at once real and ethereal; reduced to its abstract components of space and time.
It occasionally slides into contrived whimsy but this biopic offers plenty of pretty escapism, writes Hannah Clarkson.
A few ill-advised moments aside, Carlos Reygadas’ eccentric POST TENEBRAS LUX succeeds in being in turn whimsical, frightening and moral, writes Hannah Clarkson.
Martin Scorsese’s art school short offers more than gore – it’s a Pandora’s box of blackly comic political satire. Hannah Clarkson reviews.
Heart warming and harrowing, mystical and raw, BEASTS OF THE SOUTHERN WILD is an idiosyncratic masterpiece, quietly enchanting and brutally frank in equal measure, says Hannah Clarkson.
Hannah Clarkson and Steve Williams offer opposing views on Rosi’s ILLUSTRIOUS CORPSES. Is the truth always revolutionary? There’s only one way to find out! Read on, and then let us know what you think.
A stunning opening leads to a moving film full of suspense, surprises and shocking truths which touch to the core. The annual SURPRISE FILM screens on Sunday 23rd at 5pm. Hannah Clarkson reviews.
The World According to Garp author John Irving is the subject of Andre Schafer’s film. A rare and delightful opportunity to enter a creative mind at work, writes Hannah Clarkson.
Slick, polemical and beautifully rendered, FLYING BLIND is reminiscent of the best of BBC crime drama, but with a painterly mise-en-scène, writes Hannah Clarkson.
BLACK BREAD (PA NEGRE) begins as it is to continue: in violence, turmoil and the loss of life. Hannah Clarkson reviews Agustí Villaronga’s gripping Catalonian tale, which screens again on Saturday 22nd.