Movies
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Gentle Monster review – provocation without…
This new film from writer/director Marie Kreutzer (Corsage) charts the tortuous predicament of Léa Seydoux’s Lucy Weiss, a musician whose marriage…
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I Love Boosters review – a technicolour takedown…
In a world where much of mid-budget Hollywood cinema comes in a cacophony of sludgy greys and browns, Boots Riley is a glorious…
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Animol review – boyhood behind bars
The subject of male violence and the manosphere entered the political arena around the release of Adolescence on Netflix, which…
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Lance Oppenheim: ‘The line between criminal…
Barely out of his twenties, Lance Oppenheim has already established himself as something of a moving image renaissance man. With documentaries,…
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Primetime review – Pattinson’s uncanny take on…
If Hansen’s gum-smacking producer, Andie Bender (Merritt Wever) doesn’t share her star’s unwavering superiority complex, it’s only because she’s got…
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The Macabre Convergence of FW Murnau's Art and Life
On the centenary of his silent masterpiece and the release of ‘The Faust Bible’, we examine FW Murnau’s mastery of…
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Wicker review – a swooning comic fairy-tale with…
None of the couples are truly in love in co-directors Alex Huston Fischer and Eleanor Wilson’s adaptation of Ursula Wills…
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Nightborn review – bad baby, bad movie
Hanna Bergholm maternal folk horror avoids logic and credibility at every turn as it tells of a couple’s attempts to…
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Lee Chang-dong: ‘Am I worthy of telling their…
Lee Chang-dong only makes films when he’s good and ready, as Possible Love is his follow-up to 2018’s astounding love-triangle…
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All Rivers Spill Their Stories to the Sea review…
Were you to cut the skin of Stan Rennie, his blood would run with the distinct perfume of the Teesside…
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